Myron Bement Smith Collection
The collection is arranged into 2 major series with further subseries. A third series inventories the outsized and miscellaneous materials.
Series 1: Papers
Subseries 1.1: Biographic Materials
Subseries 1.2: Professional Experience
Subseries 1.3: Notebooks, Journals and Appointment Books
Subseries 1.4: Correspondence
Subseries 1.5: Published and Unpublished Materials
Subseries 1.6: Italy Research 1925, 1927-1928
Subseries 1.7: Iran Research 1933-1937
Subseries 1.8: Katharine Dennis Smith Papers and Correspondence
Series 2: The Islamic Archives
Subseries 2.1: Islamic Archives History, Collection Information
Subseries 2.2: Resource Materials Iran
Subseries 2.3: Resource Materials Other Islamic World and General
Subseries 2.4: Myron Bement Smith Architectural Sketches, Plans and Notes, Iran, 1933-1937
Subseries 2.5: Myron Bement Smith Iran Photographs, Notebooks and Negative Registers
Subseries 2.6: Country Photograph File
Subseries 2.7: Lantern Slide Collection
Subseries 2.8: Myron Bement Smith 35 mm Color Slides
Subseries 2.9: Country 35 mm Color Slide File
Subseries 2.10: Myron Bement Smith Negatives
Subseries 2.11: Country Photograph Negatives
Subseries 2.12: Antoin Sevruguin Photographs
Series 3: Outsize and Miscellaneous Items
Subseries 3.1: Map Case Drawers
Subseries 3.2: Rolled Items
Subseries 3.3 Items in Freezer
Subseries 3.4 Smithsonian Copy Negatives
Collection is open for research.
Permission to publish, quote, or reproduce must be secured from the repository.
Gift of Katharine Dennis Smith.
In April 1930, Smith was appointed Secretary of the newly created
Accompanied by his new bride Katharine Dennis, Smith left for Iran in 1933. They suffered a horrendous motor vehicle accident in
Smith published several articles about Iran's Islamic monuments based on his field research and in 1947 completed his PhD thesis for
Smith developed an extensive network of professional and social contacts that dated from his early student days and increased markedly during his time at the Persian Institute and later in Iran. He kept in touch with them and they touted him to others who were interested in Iran or Islamic art and architecture. This network served him well in realizing his ambition of creating a resource for scholars that relied on photographs to document Islamic architecture. The Islamic Archives began with his own collection of photographs from his Iran research and grew to include all manner of photographic and other materials not only on the Islamic world but also other areas. Creating and managing the Archives became the main focus of Smith's professional life and career. In 1967 he received a grant from the National Endowment for the Humanities to revise his PhD thesis as a publishable manuscript but died before he could complete it.
The
The Islamic Archives, formally entitled
The Antoin Sevruguin Photgraphs
Ernst Herzfeld Papers
Lionel B. Bier Drawings
Lionel D. Bier and Carol Bier Photographs
Processed by Dr. Elizabeth Graves.
The Myron Bement Smith Collection, FSA A.04. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of Katherine Dennis Smith.
Gift of Katherine Dennis Smith, transfered from National Anthropological Archives.
The papers of
These materials include an eclectic mix of
[Myron Bement Smith Collection; Series 1: Papers; Subseries 1.8: Katharine Dennis Smith Papers and Correspondence; Box 57; Folder 4]
FSA A.04 1.8.57.KDS
The Islamic Archives; Subseries 1.8: Katharine Dennis Smith Papers and Correspondence, includes mostly Katharine Dennis Smith correspondence after her marriage, arranged alphabetically and includes the years for which letters are available.
The papers of Katharine Dennis Smith include some biographic and personal material, but most of the material consists of her correspondence after her marriage, Boxes 56 to 58. Of particular interest are her letters about life in Iran, especially those to her long time friend Amy Schroeder and to E. Vail Stebbins, friend and handler of affairs on behalf of the Smiths while they were in Iran. She was an active participant in her husband's academic and Islamic Archives projects, Series 2. She corresponded with many of the same people, sometimes answering letters written to her husband. Her letters complement his. Her correspondence is arranged in alphabetically and includes the years for which letters are available.
Classical archaeologist, architect, and art historian Myron Bement Smith (1897-1970) had a life-long devotion to West Asia, accumulating some 87,000 items now in the Archives documenting Islamic art and culture from Spain to India, with an emphasis on architecture. Established in 1948 to further an appreciation for Persian art and culture, nearly seventy-five percent of Smith's "Islamic Archives" consists of his own work; the remainder obtained from other sources. One of the most significant portions of the "Islamic Archives" is the photographic material of Antoin Sevruguin, a commercial photographer in Tehran active during the 1870s to 1930. Other materials in the collection include Smith's personal and professional papers including correspondence, research files, writings, and documentation regarding his 1927-1928 Italian and 1933-1937 Iranian expeditions.
[Myron Bement Smith Collection; Series 1: Papers; Subseries 1.4: Correspondence; Box 30; Folder 15]
FSA A.04 1.4.30.Merrick1936
The Islamic Archives; Series 1: Papers; Subseries 1.4: Correspondence, includes Myron Bement Smith and Katharine Dennis Smith correspondence, arranged alphabetically and includes the years for which letters are available.
Myron Bement Smith (MBS) had an extensive list of friends and colleagues with whom he corresponded over the years. After 1930, when he joined the American Institute for Persian Art and Archaeology, MBS acquired many new friends and contacts within the world of Islamic and Near Eastern studies and among those associated with academic foundations and funding organizations. Extensive correspondence by both MBS and his wife Katharine Dennis Smith during their stay in Iran from 1933 to1937 describes life in the ex-patriate community; contacts with foreign scholars and travellers; and interactions with Iranians. The earliest correspondence includes only letters written to MBS, but beginning in the 1930s, he and his wife kept copies of their outgoing letters as well. MBS' correspondence with his wife during their times apart contains more information about what he is doing and life around him than is included in his letters to others. Letters become fewer in the 1940s as MBS and his wife begin conducting more business and social interchange by telephone.
Classical archaeologist, architect, and art historian Myron Bement Smith (1897-1970) had a life-long devotion to West Asia, accumulating some 87,000 items now in the Archives documenting Islamic art and culture from Spain to India, with an emphasis on architecture. Established in 1948 to further an appreciation for Persian art and culture, nearly seventy-five percent of Smith's "Islamic Archives" consists of his own work; the remainder obtained from other sources. One of the most significant portions of the "Islamic Archives" is the photographic material of Antoin Sevruguin, a commercial photographer in Tehran active during the 1870s to 1930. Other materials in the collection include Smith's personal and professional papers including correspondence, research files, writings, and documentation regarding his 1927-1928 Italian and 1933-1937 Iranian expeditions.
[Myron Bement Smith Collection; Series 1: Papers; Subseries 1.4: Correspondence; Box 30; Folder 15]
FSA A.04 1.4.30.Merrick1937
The Islamic Archives; Series 1: Papers; Subseries 1.4: Correspondence, includes Myron Bement Smith and Katharine Dennis Smith correspondence, arranged alphabetically and includes the years for which letters are available.
Myron Bement Smith (MBS) had an extensive list of friends and colleagues with whom he corresponded over the years. After 1930, when he joined the American Institute for Persian Art and Archaeology, MBS acquired many new friends and contacts within the world of Islamic and Near Eastern studies and among those associated with academic foundations and funding organizations. Extensive correspondence by both MBS and his wife Katharine Dennis Smith during their stay in Iran from 1933 to1937 describes life in the ex-patriate community; contacts with foreign scholars and travellers; and interactions with Iranians. The earliest correspondence includes only letters written to MBS, but beginning in the 1930s, he and his wife kept copies of their outgoing letters as well. MBS' correspondence with his wife during their times apart contains more information about what he is doing and life around him than is included in his letters to others. Letters become fewer in the 1940s as MBS and his wife begin conducting more business and social interchange by telephone.
Classical archaeologist, architect, and art historian Myron Bement Smith (1897-1970) had a life-long devotion to West Asia, accumulating some 87,000 items now in the Archives documenting Islamic art and culture from Spain to India, with an emphasis on architecture. Established in 1948 to further an appreciation for Persian art and culture, nearly seventy-five percent of Smith's "Islamic Archives" consists of his own work; the remainder obtained from other sources. One of the most significant portions of the "Islamic Archives" is the photographic material of Antoin Sevruguin, a commercial photographer in Tehran active during the 1870s to 1930. Other materials in the collection include Smith's personal and professional papers including correspondence, research files, writings, and documentation regarding his 1927-1928 Italian and 1933-1937 Iranian expeditions.
The papers of
The Islamic Archives, known formally as The Archive for Islamic Culture and Art, was an outgrowth of
This subseries includes information on the history, administration and correspondence related to creation and development of the Islamic Archives and the materials it contains.
[Myron Bement Smith Collection; Series 2: The Islamic Archives; Subseries 2.1: Islamic Archives History, Collection Information; Box 59; Folder 3]
FSA A.04 2.1.59.AICAminutes5
The Islamic Archives; Subseries 2.1: Islamic Archives History, Collection Information, includes information on the history, administration and correspondence related to creation and development of the Islamic Archives and the materials it contains. Myron Bement Smith gave each accession to the Archives an alphanumeric identifier. The Plain Number Series was apparently assigned to the initial acquisitions. It consists of a number followed by a letter indicating whether the material was a deposit (D), a temporary deposit (TD), a gift (G), a purchase (P) or a copy (C). These designators were used for both photographic and written materials.
Title and summary note are provided by Archives staff.
The Islamic Archives, known formally as The Archive for Islamic Culture and Art, was an outgrowth of Myron Bement Smith's (MBS) belief that photography is an important research tool for the study of architecture. He relied on photography for his research in Italy in the 1920s and again in Iran in the 1930s. He called his personal collection of photographs, architectural sketches and materials on Iran and other Islamic countries his Islamic archives. He wanted to expand it by soliciting written and photographic material from other scholars, travellers and photographers. In 1941 the Committee on Arabic and Islamic Studies of the American Council of Learned Societies (ACLS) adopted Smith's idea as an official activity. It was formally titled The Archive for Islamic Culture and Art, but generally referred to by MBS and others as the Islamic Archives. It remained largely a personal activity of MBS and was housed at the Library of Congress where he served as a consultant. In 1949 he drafted formal articles of association creating the Committee for Islamic Culture to plan and operate the Islamic Archives and to administer a {dollar}9,000 gift that Dr. James R. Jewett of Harvard University had given to the ACLS to fund its development. Although the Committee met occasionally, MBS remained the driving force for the Islamic Archives. It was a personal passion and the focus of his professional life; he continued adding materials until his death in 1970.
According to the official minute, the committee for Islamic Culture reported the following purchase, "369,13x18cm. glass negatives; 285, 18x24cm. glass negatives; 42, 9x12cm. glass negatives, forming the Antoine Sevruguin collection, made in Persia while he was court photographer to Nasr ed-Din Shah and the succeeding Kajar rulers and including the period of the dictatorship of Riza Khan up to his coronation (1926), acquired by purchase from the American (Presbyterian) Mission, Tehran, who had them by gift from the heiress of Sevruguin, at a cost of {dollar}200.00, the packing and transport by courtesy of Professor T. C. Young."
Classical archaeologist, architect, and art historian Myron Bement Smith (1897-1970) had a life-long devotion to West Asia, accumulating some 87,000 items now in the Archives documenting Islamic art and culture from Spain to India, with an emphasis on architecture. Established in 1948 to further an appreciation for Persian art and culture, nearly seventy-five percent of Smith's "Islamic Archives" consists of his own work; the remainder obtained from other sources. One of the most significant portions of the "Islamic Archives" is the photographic material of Antoin Sevruguin, a commercial photographer in Tehran active during the 1870s to 1930. Other materials in the collection include Smith's personal and professional papers including correspondence, research files, writings, and documentation regarding his 1927-1928 Italian and 1933-1937 Iranian expeditions.
[Myron Bement Smith Collection; Series 2: The Islamic Archives; Subseries 2.1: Islamic Archives History, Collection Information; Box 59; Folder 3]
FSA A.04 2.1.59.AICAminutes6
The Islamic Archives; Subseries 2.1: Islamic Archives History, Collection Information, includes information on the history, administration and correspondence related to creation and development of the Islamic Archives and the materials it contains. Myron Bement Smith gave each accession to the Archives an alphanumeric identifier. The Plain Number Series was apparently assigned to the initial acquisitions. It consists of a number followed by a letter indicating whether the material was a deposit (D), a temporary deposit (TD), a gift (G), a purchase (P) or a copy (C). These designators were used for both photographic and written materials.
Title and summary note are provided by Archives staff.
The Islamic Archives, known formally as The Archive for Islamic Culture and Art, was an outgrowth of Myron Bement Smith's (MBS) belief that photography is an important research tool for the study of architecture. He relied on photography for his research in Italy in the 1920s and again in Iran in the 1930s. He called his personal collection of photographs, architectural sketches and materials on Iran and other Islamic countries his Islamic archives. He wanted to expand it by soliciting written and photographic material from other scholars, travellers and photographers. In 1941 the Committee on Arabic and Islamic Studies of the American Council of Learned Societies (ACLS) adopted Smith's idea as an official activity. It was formally titled The Archive for Islamic Culture and Art, but generally referred to by MBS and others as the Islamic Archives. It remained largely a personal activity of MBS and was housed at the Library of Congress where he served as a consultant. In 1949 he drafted formal articles of association creating the Committee for Islamic Culture to plan and operate the Islamic Archives and to administer a {dollar}9,000 gift that Dr. James R. Jewett of Harvard University had given to the ACLS to fund its development. Although the Committee met occasionally, MBS remained the driving force for the Islamic Archives. It was a personal passion and the focus of his professional life; he continued adding materials until his death in 1970.
According to the official minute, the committee for Islamic Culture reported the following gift, "2, 5" x 7" photoprints and 64, 7" x 9" photoprints, purchased by him in 1928 from Sevruguin, Tehran, of scenes from Persian life, from Mr. Joseph Upton, Department of State, Washington, D.C."
Classical archaeologist, architect, and art historian Myron Bement Smith (1897-1970) had a life-long devotion to West Asia, accumulating some 87,000 items now in the Archives documenting Islamic art and culture from Spain to India, with an emphasis on architecture. Established in 1948 to further an appreciation for Persian art and culture, nearly seventy-five percent of Smith's "Islamic Archives" consists of his own work; the remainder obtained from other sources. One of the most significant portions of the "Islamic Archives" is the photographic material of Antoin Sevruguin, a commercial photographer in Tehran active during the 1870s to 1930. Other materials in the collection include Smith's personal and professional papers including correspondence, research files, writings, and documentation regarding his 1927-1928 Italian and 1933-1937 Iranian expeditions.
[Myron Bement Smith Collection; Series 2: The Islamic Archives; Subseries 2.1: Islamic Archives History, Collection Information; Box 59; Folder 3]
FSA A.04 2.1.59.AICAminutes4
The Islamic Archives; Subseries 2.1: Islamic Archives History, Collection Information, includes information on the history, administration and correspondence related to creation and development of the Islamic Archives and the materials it contains. Myron Bement Smith gave each accession to the Archives an alphanumeric identifier. The Plain Number Series was apparently assigned to the initial acquisitions. It consists of a number followed by a letter indicating whether the material was a deposit (D), a temporary deposit (TD), a gift (G), a purchase (P) or a copy (C). These designators were used for both photographic and written materials.
Title and summary note are provided by Archives staff.
The Islamic Archives, known formally as The Archive for Islamic Culture and Art, was an outgrowth of Myron Bement Smith's (MBS) belief that photography is an important research tool for the study of architecture. He relied on photography for his research in Italy in the 1920s and again in Iran in the 1930s. He called his personal collection of photographs, architectural sketches and materials on Iran and other Islamic countries his Islamic archives. He wanted to expand it by soliciting written and photographic material from other scholars, travellers and photographers. In 1941 the Committee on Arabic and Islamic Studies of the American Council of Learned Societies (ACLS) adopted Smith's idea as an official activity. It was formally titled The Archive for Islamic Culture and Art, but generally referred to by MBS and others as the Islamic Archives. It remained largely a personal activity of MBS and was housed at the Library of Congress where he served as a consultant. In 1949 he drafted formal articles of association creating the Committee for Islamic Culture to plan and operate the Islamic Archives and to administer a {dollar}9,000 gift that Dr. James R. Jewett of Harvard University had given to the ACLS to fund its development. Although the Committee met occasionally, MBS remained the driving force for the Islamic Archives. It was a personal passion and the focus of his professional life; he continued adding materials until his death in 1970.
According to the official minute, the committee for Islamic Culture reported the following vote, "That Mr. T. Cuyler Young be and hereby is empowered to purchase for the account of this Association all the remaining Segruvian photographis negatives and their catalog list from the American Presbyterian Mission, tehran, for a sum not to exceed {dollar}200.00, purchase to include any and all rights held by the original or late owners; further, that Mr. Young have the negatives packed and shipped to the Association; further, that the Association reimburse Mr. Young for all proper charges for packing and shipping charges for these negatives." and, "Mr. Young reported that the Segruvian negatives, a famous collection known to all Persian scholars, have been given by Segruvian's heiress to the American (Presbyterian) Mission in tehran with instructions that they be sold for the benefit of the Mission. The Chairman had seen part of these negatives in 1934 and had ordered prints from them. Segruvian was court photographer to Nasr al-Din Shah and his immediate successors; he accompanied the Shah on his royal progresses and recorded personages, monuments, costumes, types and manners. Prints from these negatives have been used to illustrate numerous books and articles; they form a precious record of a fast-disappearing way of life. Mr. Young said that the price asked is {dollar}200.00, which includes all the negatives on hand plus a catalog list."
Classical archaeologist, architect, and art historian Myron Bement Smith (1897-1970) had a life-long devotion to West Asia, accumulating some 87,000 items now in the Archives documenting Islamic art and culture from Spain to India, with an emphasis on architecture. Established in 1948 to further an appreciation for Persian art and culture, nearly seventy-five percent of Smith's "Islamic Archives" consists of his own work; the remainder obtained from other sources. One of the most significant portions of the "Islamic Archives" is the photographic material of Antoin Sevruguin, a commercial photographer in Tehran active during the 1870s to 1930. Other materials in the collection include Smith's personal and professional papers including correspondence, research files, writings, and documentation regarding his 1927-1928 Italian and 1933-1937 Iranian expeditions.
[Myron Bement Smith Collection; Series 2: The Islamic Archives; Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44; 47P]
FSA A.04 2.1.60.47P
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was not included into any of the original boxes.
Title and summary note are provided by Archives staff.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Myron Bement Smith's List of 696 Sevruguin Glass Plate Negatives: from Myron Bement Smith Collection; Series 2: The Islamic Archives [graphic]
[Myron Bement Smith Collection; Series 2: The Islamic Archives; Subseries 2.1: Islamic Archives History, Collection Information; Box 61; Folder 5; 58G]
FSA A.04 2.1.61.58G
According to Joseph Upton handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 61; Folder 5: 58G Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 66 gelatin silver prints are arranged in sequential number following Joseph Upton's handwritten list of captions.
Title and summary note are provided by Archives staff.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Joseph Upton's List of 66 Sevruguin Gelatin Silver Prints: from Myron Bement Smith Collection; Series 2: The Islamic Archives [graphic]
The focus of the Islamic Archives is photodocumentation, but
Isfahan, Masjid-i Jomeh Ground Plan by Schroeder, copy
Isfahan, Masjid-i Jomeh Ground Plan, original ink drawing and copy
Isfahan, Masjid-i Jomeh Ground Plan Sections, south corner, southwest riwaq south part, southwest riwaq west part and iwan-i qibla, ink drawings
Isfahan, Masjid-i Jomeh Ground Plans, reproductions
Isfahan, Masjid-i Jomeh Iwan and Manar, architectural drawing
Isfahan, Masjid-i Jomeh Miscellaneous Architectural Drawings, originals
Isfahan, Masjid-i Jomeh Miscellaneous Architectural Drawings, reproductions
Isfahan, Masjid-i Jomeh, "Dutchman for Vaulting," ink architectural drawings
For more information, see index inside box.
For more information, see index inside box.
For more information, see index inside box.
For more information, see index inside box.
Persian Monuments Large Photo File,
Photographs of Palmyra, Syria
Photographs of Palmyra, Syria
Photographs of Palmyra, Syria
Photographs of Palmyra, Syria
Photographs of Palmyra, Syria
Photographs of Palmyra, Syria
Photographs of Palmyra, Syria
Photographs of Palmyra, Syria
Photographs of Palmyra, Syria
Photographs of Palmyra, Syria
Photographs of Palmyra, Syria
Photographs of Palmyra, Syria
Photographs of Palmyra, Syria
Photographs of Palmyra, Syria
Photographs of Palmyra, Syria
Photographs of Palmyra, Syria
Photographs of Palmyra, Syria
Photographs of Palmyra, Syria
Photographs of Palmyra, Syria
Photographs of Palmyra, Syria
Photographs of Palmyra, Syria
Photographs of Palmyra, Syria
Photographs of Palmyra, Syria
Photographs of Palmyra, Syria
Photographs of Palmyra, Syria
Photographs of Palmyra, Syria
Photographs of Palmyra, Syria
Photographs of Palmyra, Syria
Photographs of Palmyra, Syria
FSA A.04 2.6.174G.Palmyra
- 29 albumen prints mounted on board.
29 albumen prints depicting the architectural ruins at the ancient city of Palmyra, Syria. Also includes portraits of the Bedouins who inhabited the site, and a group of funerary portrait busts.
Félix Bonfils (1831 - 1885) was a French photographer and writer who was active in the Middle East. His family business "Maison Bonfils," dominated Middle East commercial photography in the late 19th century.
The Islamic Archives includes a small number of lantern slides. Some have Islamic Archives alphanumeric accession numbers but two of the larger collections are unnumbered. One of the latter includes the colored lantern slides for an an illustrated lecture on an Iranian Muharram celebration in the 1930s or before. Another set of mostly black and white lantern slides depicts
The country slide file is analogous to the country photograph file [Subseries 2.6]. As with the photographs,
This material includes the original negatives from
Some of the photograph collections acquired by
Antoin Sevruguin operated a successful commercial photography studio in Tehran and was a court photographer to Nasr ed-Din Shah and succeeding Qajar rulers. Sevruguin's daughter and heir donated his glass negatives to the American Presbyterian Mission in Tehran. The Committee for Islamic Culture, which administered the Islamic Archives, purchased 695 negatives from the Presbyterian Mission in 1951. The collection also includes 164 silver gelatin prints, 98 acquired by Myron Bement Smith(MBS) in 1934 and 66 donated by Joseph Upton in 1953. The glass negatives are numbered but without apparent organization. MBS organized his photoprints into subject categories. Upton's photoprints are numbered according to a handwritten caption list. [Located Bay 7] For specific information on items in the collection search Sevruguin on the Smithsonian Collections Search Center web site http://collections.si.edu .
FSA A.04 2.12
- 66 gelatin silver prints are arranged in sequential number following Joseph Upton's handwritten list of captions, and ultimately organized by Myron B. Smith into subject categories (royalty, people, executions, criminals, punishment, architecture).
- 695 glass negatives, numbered, without any apparent organization, are housed in document boxes and stored on shelves.
- 98 gelatin silver prints are organized by Myron B. Smith into subject categories (people, architecture, royalty, landscape).
Titles and summary notes are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- 66 black-and-white gelatin silver photoprints, unmounted, were a gift from Joseph Upton, received by the committee for Islamic Culture, as reported in their official minutes of October 24, 1953. The 66 photoprints were initially purchased by Joseph Upton in 1928 from Antoin Sevruguin in Tehran.
- 695 glass negatives were included into the "Islamic Archives," which was administered jontly by the committee for Islamic Culture and the committee for Arabic and Islamic Studies of the American Council of Learned Societies. According to the official minutes, the committee for Islamic Culture reported purchasing the 696 glass plates during their fiscal years 1951-1952 from the American Presbyterian Mission in Tehran. Antoin Sevruguin's daughter gave these plates to the mission with instruction that they be sold for the benefit of the mission.
- 98 gelatin silver photoprints were collected by Myron Bement Smith after he viewed a portion of Sevruguin's negatives in 1934 ( these include recent finds in the Myron Bement Smith collection).
In addition of Antoin Sevruguin's 695 glass negatives and 164 silver gelatin prints in the Myron Bement Smith collection the Archives holds: 18 albumen prints in theJay Bisno Collection of Sevruguin Photographs (FSA A.15); 34 photographic prints in the Ernst Herzfeld Papers (FSA A.6); as well as a photograph album and individual albumen prints donated by Stephen Arpee (FSA A2011.03). Finally, the Freer Gallery of Art and Arthur M. Sackler Gallery Archives also own 3 separate gelatin silver prints.
Microfiche available at the Freer Gallery of Art Library.
Antoin Sevruguin managed and operated one of the most successful commercial photography studios in Tehran in the late 19th century. Born in the 1840s in Iran, Sevruguin's mother returned with her children to her hometown of Tbilisi after his father Vassil, a Russian diplomat in Iran, died in a horse riding accident. Trained as a painter, Sevruguin returned to Iran in the early 1870s accompanied by his two brothers, establishing a photography studio first in Tabriz and then Tehran. His studio's ties to Tbilisi, however, persisted through the years; many of the early portraits of Dervishes and women have been simultaneously attributed to Antoin Sevruguin and Dimitri Yermakov, the Georgian photographer who is often referred to as Sevruguin's mentor from Tbilisi. Many of Antoin Sevruguin's photographs were published as early as 1885 in travelogues, journals and books indicating that by that time he had a fully established practice in Tehran's Ala al-Dawla street, with ties to the court of Nasir al-Din Shah Qajar. Often unacknowledged as the producer of published images in his own time - the 1902 photographic survey of Persepolis being the most glaring of such authorial misrepresentations - he was nevertheless celebrated and acknowledged for his artistic vision and his keen eye for composition, achieving the Medal of Lion and Sun from Nasir al-Din Shah, the 1897 Medal of Honour in the Brussels International Exposition, and the 1900 Medal of Honour in Paris International Exposition. Reflecting a career that spans nearly half a century, Sevruguin's diverse body of work includes studio portraits of families, women and dervishes, survey photographs of archeological sites, objects, landscapes and architecture, and photographs of royalty, high officials and ceremonies of the Qajar court. The range of his output not only demonstrates his own pictorial concerns and artistic abilities but also the divergent interests of his clients. Despite numerous devastating incidents throughout his career - the loss of more than half of his negatives in a 1908 blast and fire, an unsuccessful attempt at diversifying into cinematography in the 1910s, and the confiscation of the remainder of his negatives in the mid-1920s to name a few - his studio remained operational even after his death in 1933. A number of negatives from the Sevruguin studio can be dated to the years after Antoin's death, indicating that the Sevruguin studio continued to be commercially viable. As one of the most prolific early commercial photographers in Iran, Antoin Sevruguin's artistic legacy has since proved far more enduring.
Myron Bement Smith Collection: Antoin Sevruguin Photographs
695 glass negatives were included into the "Islamic Archives," which was administered jontly by the committee for Islamic Culture and the committee for Arabic and Islamic Studies of the American Council of Learned Societies. According to the official minutes, the committee for Islamic Culture reported purchasing the 696 glass plates during their fiscal years 1951-1952 from the American Presbyterian Mission in Tehran. Antoin Sevruguin's daughter gave these plates to the mission with instruction that they be sold for the benefit of the mission. The glass negatives are numbered but without apparent organization.
Tehran (Iran): City Rooftops against Snowcapped Alborz Mountain [graphic]
FSA A.04 2.12.GN.00.02
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was not included into any of the original boxes.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The photo is taken from atop a rooftop in Tehran, looking north towards the Alborz mountain range and Damavand. The complex in the background seems like an official or royal building complex, judging by the size of the enclosure." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Ashura, Qame-Zani Ritual [graphic]
FSA A.04 2.12.GN.01.01
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 1."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"General view of the Qame-Zani ritual. The men in white attire are mourning the death of Hussayn, the 3rd Imam of Shi'i, by re-enacting and re-experiencing his pain. At the end of the ceremony the white dress would be covered in red blood stains. The photo depicts the mourners in a row, with swords in their hands and blood stains on their white attire. The high vantage point of the photographer - atop one of the walls surrounding the avenue - allows him both an image of the wounded heads and an overall view of the Muharram ceremonies." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 1.1: Iran - Ashura." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Royal Puppet Show [graphic]
FSA A.04 2.12.GN.00.01
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was not included into any of the original boxes.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The image is a close up of a puppet show's very crowded setting, with too many elements and characters to specify a scene. It seems that - more than depicting a specific instance of a puppet show - the photographer is interested in having a visual record of all the puppets: a group portrait for the puppets. The puppet show or Khaymah Shab Bazi was usually accompanied by a group of musicians, not seen in this image. Khayma shab-bazi was usually performed by the travelling puppeteer and his group. The stories usually centered around the adventures of the commoner hero and his endeavors. In this instance however, the presence of royally dressed puppets allows for the assumption that this was probably prepared for a courtly audience. The front of a small model car is visible in the lower left side of the image. The first cars arrived in Iran during Muzaffar al-Din Shah's time and around 1900s. it is therefore safe to assume that the arrival of the toy model - and thus the capturing of the particular photo - proceeds this date. Also, the elements of various story-lines are already present in the scene: the head of a 'Western' woman in the mid-left of the setting, a bear in chains in the far right side of the scene, etc. (Related to Negative 24.1)." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Bishapur (Iran): Sasanian Rock Relief Depicting the Triumph of Shapur I over Roman Emperors [graphic]
FSA A.04 2.12.GN.00.03
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was not included into any of the original boxes.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"A woman and a man are shown sitting on the base of the relief. Another man is leaning against the relief in the lower left corner. The relief depicts Shapur fighting with Valerian. The photo is from an angle and it depicts the lower half of the structure." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Friedrich Sarre, Die Kunst Des Alten Persien, 1922 (709.55 S24).
Tehran (Iran): Front Courtyard of Kakh-i Gulistan (Gulistan Palace Complex): Salam Ceremony [graphic]
FSA A.04 2.12.GN.00.04
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was not included into any of the original boxes.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The photo is of the attendants of an official Salam ceremony in Gulistan palace. The ceremony is most probably the Nowruz Salam ceremony. During the reigns of the first four kings of Qajar dynasty, what is now known as the Salam ceremony had gradually gained a special ceremonial function and was conducted with considerable care and through strict observance of specific rituals. During the ceremony the courtiers, military officials, European officials accompanied, in some cases and in the earlier days of Fath Ali Shah's reign, by the general population would attend the ceremony and paid their respects - or in this case their Nowruz greetings- to the residing Qajar King. The placement of everything from the king's hookah and small seating place on the throne to the arrangement of the different official and military groups in the garden were predetermined and following the traditions set in the earlier days of Qajar dynasty. The photo is taken during one of the official Salam ceremonies. It is notable that in all such occasions, the guards and military personnel stand to the right side of the Shah and the left side of the photo. The figure standing in the middle of the image and against the tree (in white) is Kamran Mirza (b.1858-d.1929), Nasir Al-Din Shah's son. The one standing right beside him on his right is Mirza Abd al-Vahab Khan Nizam al-Mulk (b.1849-d.1917). From 1889 till 1893 Nizam al-Mulk was the minister of the army. The photo must have been taken in this interval. The figure standing on the right side of the foreground with a tray in hand was usually a trusted officer of the court who would carry money in his tray." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten number in white (inked, probably by Antoin Sevruguin) reads, "113."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Mahdi Bamdad, Sharh-i Hal-i Rijal-i Iran dar Qarn-i 12,13,14 Hijri, Tehran: Intisharat-i Zavvar (Zavvar Publishing): 1992, Vol. 4, p:269 & vol. 2, p:320-323.
Tehran (Iran), Entrance to Kakh-i Gulistan (Gulistan Palace Complex) from Maydan-i Arg (Arg square or the old Canons' square): Zurkhana Wrestlers' Performance, possibly Part of Nowruz Festivities [graphic]
FSA A.04 2.12.GN.00.05
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was not included into any of the original boxes.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"A large crowd of spectators gather around a group of Zurkhana wrestlers' performance in the courtyard in front of the Iwan-i Takht, Gulistan palace's entrance. The proximity of the view to the wrestlers, along with the elevated position of the camera means that the photograph has been taken atop a balcony in the entrance complex, overlooking the performance. The depiction is therefore reaffirms the presence of the photographer amongst the guests of the court, observing the performance alongside the other dignitaries and apart from the crowd in the Maydan." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Rooftops of a Small Village, most probably on the Northern Coast of Iran, beside Caspian Sea [graphic]
FSA A.04 2.12.GN.00.06
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was not included into any of the original boxes.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The rooftops of the houses are indigenous to the shoreline cities of the Caspian sea." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten number in white (inked, probably by Antoin Sevruguin) reads, "1129."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Seated Man, Possibly in Costume [graphic]
FSA A.04 2.12.GN.00.07
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was not included into any of the original boxes.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Portrait possibly made by the request of the seated figure in the image. The photo seems to have been taken on the front balcony of a house rather than inside the studio of the photographer. The relaxed pose and smile of the seated figure differes from the style of Sevruguin portraiture, further indicating that the image might have been produced on specific requests of the seated figure." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Studio Portrait: Standing Officer [graphic]
FSA A.04 2.12.GN.00.08
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was not included into any of the original boxes.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The photograph is a copy print of another image, by a studio called 'A. Ken Phot[o]' which is inscribed at the bottom left side of the image. A. Ken Phot was the official signature of a photographic studio on 10 Montmartre Blvd. in Paris, owned and operated by Alexander Ken (1831-1874). The man in the image has a medal that resembles 'Nishan-i Aftab' created by Nasir al-Din Shah Qajar." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
http://gallica.bnf.fr/ark:/12148/btv1b8450688v
Riverside Landscape [graphic]
FSA A.04 2.12.GN.00.09
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was not included into any of the original boxes.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"On the far left of the image traces of another land strip can be seen. Therefore the photo is from the coast of a river. There are other images of the same kind of small vessels on Karun river." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Vicinity of Rasht (Iran): Safavid Bridge and Tower [graphic]
FSA A.04 2.12.GN.00.10
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was not included into any of the original boxes.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The bridge is the subject matter of the photo which has been taken from a position that allows for the whole structure to fir in the boundaries of the image. The figures on top of the bridge bring a sense of scale to the image. On top of the bridge there are two shadows in the same spot. There are of the same person moving. The same can be said about the shadow on the foot of the bridge." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "433."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "165."
Gelatin silver print numbered FSA A.4 2.12.Sm.80; available in Myron Bement Smith Collection, ca. 1910-1970.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Badri Atabay, Fihrist-i Albumha-i Kitabkhana'i Saltanati, Tehran: Chapkhana'i Ziba, 2537(1976), Album Number 292, P:41.
Vicinity of Shahr-i Rayy (Iran): Chasman-i-ali Mound: Qajar Rock Relief Depicting Fath Ali Shah [graphic]
Vicinity of Shahr-i Rayy (Iran): Chasman-i-ali Mound: Qajar Rock Relief Depicting Fath Ali Shah [graphic]
FSA A.04 2.12.GN.00.11
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was not included into any of the original boxes.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The image is of a rock relief of Qajar period in the route from Tehran to Chishma Ali, one of the Qajar kings' favorite camping spots. The relief echoes the Sassanian tradition of depicting their kings in the rock relief. In the case of this one, Fath Ali Shah is surrounded by sixteen of his sons, the name of each of which is inscribed beside the carved heads. the relief includes two sets of inscriptions: a qasida by Andalib and verses by the head of the chancellery, Mirza Muhammad Taqi Aliabadi (Sahib-i Divan). The relief was ordered in 1830-1831, probably by Fath Ali Shah and it depicts Fath Ali Shah, seating on what appears to be the peacock throne, surrounded by sixteen of his sons, the name of each of which is inscribed beside the carved heads. Fath Ali Shah Qajar was the second king of Qajar dynasty in Iran that rulled the country for around 37 years (1797-1834). He was born to Aqa Mohammad Khan Qajar's brother and since Aqa mohammad Khan did not have a child, Fath Ali shah assumed the position of the king upon his death." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "817."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "131."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "83) Bridge near Resht." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
Gelatin silver print numbered FSA A.4 2.12.Sm.40; available in Myron Bement Smith Collection, ca. 1910-1970.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
J. P. Luft: The Qajar Rock Reliefs, Iranian Studies, Vol. 34, No. 1/4, p:33
Kashan (Iran): Aerial View of the Bazaar Complex Domed Rooftop [graphic]
FSA A.04 2.12.GN.00.12
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was not included into any of the original boxes.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "462."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "1615."
Gelatin silver print numbered FSA A.4 2.12.Sm.64; available in Myron Bement Smith Collection, ca. 1910-1970.
Glass negative numbered FSA A.4 2.12.GN.49.05; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Masjid-I Shah (Masjid-I Imam, Shah Mosque): View of Entrance Portal [graphic]
FSA A.04 2.12.GN.01.02
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 1."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The view is of the Bazaar and the street in front of the main entrance to Masjid-I Shah. The mosque bears inscriptions with various dates but its construction is generally dated to Fath Ali Shah-I Qajar's (1772-1834) time (early 19th century). The names of the calligrapher and tile workers and designers are visible on the tileworks around the main courtyard. The minarets of the central iwan of the courtyard that flank the central clock structure are Nasir al-Din Shah's addition to the structure." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 1.2: Iran. Tehran - Dawezeyi Dawlat." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Kambiz Haji ghasemi, Ganjnama, Farhand-I Asar-I Mi'mari'I Islami-I Iran: Daftar-I Sivvum, Banaha'I Mazhabi'I Tehran, Tehran: Sazman-I Miras-I Farhangi Kishvar, 1998
Pottery shop [graphic]
FSA A.04 2.12.GN.01.03
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 1."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"There is a man in 'western' attire standing beside the shop with a small dog on leash." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 1.3: Iran - Pottery shop." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Portrait of a Dervish [graphic]
FSA A.04 2.12.GN.01.04
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 1."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Portrait of a Dervish. Such portraits are numerous in Sevruguin's collection and they share a few characteristics: they are usually close ups of the faces and the upper bodies of the subject matter; the light and dark areas are very consciously set up and controlled by the artist; the figures also have some facial similarities: they usually have long hair - either in braids or loose - and beards. They sometimes carry a walking stick, part of which is cut outside the frame. The overall appearance of the portraits resembles the paintings of Christ. The genre might have been Sevruguin's experimentation with the stylistic capabilities of painting when applied to photography." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 1.4: Iran - a darvish." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Threshing [graphic]
FSA A.04 2.12.GN.01.05a
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 1."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "457) Threshing." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 1.5: Iran - Threshing." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Darvaza Dawlat (Dawlat City gate), Viewed from Outside the City [graphic]
FSA A.04 2.12.GN.01.05b
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 1."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The structure dates to Nasir Al-Din Shah's time. After the expansion of Tehran, which started in 1867, six gates were added to the city walls of Tehran, one of the most elaborately designed one of which was Darvaza Dawlat. The gate was built in 1871 by Mohammad Rahim Khan 'Ala al-Dawla (Amir Nizam). Located on the north side of the wall, Darvaza Dawlat, along with Shimiran and Yusif Abad Gates, marked the northern boundaries of the city. The view of the gates usually differed from the side facing the city to the side facing the outside. Almost all of the twelve gates of the city were torn down during the later expansion of Tehran in 1930s. The photo is taken on a later date compared to 21.2, which shows the same structure, with the small animal heads attached to the piece on the top of the entrance." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Yahya Zoka and Mohammad Hassan Semsar, Tehran Dar Tasvir, Tehran: Sazman-i Miras-i Farhangi-i Kishvar, 1997, p:137-149
Province of Fars (Iran): Yazd-i Khast or Izad-Khast Complex: Side View of the Eastern Part of the Complex [graphic]
FSA A.04 2.12.GN.01.06
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 1."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"This complex contains the castle of Izad-khast (from Sassanid period), a caravanserai and a bridge of Safavid times. The works inside of the castle belong to different periods from Sassanids to Qajars. The castle of Izad-khast, built on a rock bed, has been resistant to decay and destruction because of its natural base. The photo depicts the structure from the side, presenting its overall size and extension into space. Also, since the point of view of the camera is on a lower ground than the base of the structure, the building appears grander and more imposing in space." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Yahya Zoka and Mohammad Hassan Semsar, Tehran Dar Tasvir, Tehran: Sazman-i Miras-i Farhangi-i Kishvar, 1997, p:137-149
Tehran (Iran): Maydan-i Tupkhana (Canon's Square): Imperial Bank of Persia [graphic]
FSA A.04 2.12.GN.01.07
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 1."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The photo is a copy of another photo of the newer building of the Imperial Bank in Maydan-i Tupkhana. The older structure, photos of which are also present in the archives was situated in Maydan-i Sipah or Maydan-i Tupkhana as well. It was destroyed in 1932. The new building was constructed on the site of Takkiya Dawlat that was destroyed in 1931. The new Canons' square and the two storey buildings surrounding it were built between 1867 and 1877 on the north side of the old Canons' square or Maydan-i Arg. The two-storey building in the background of the image surrounding the square was initially planned as a reservoir of military equipment and a meeting and living place of military officials. A large and shallow pool, surrounded by trees and greenery and a railing around the whole area was constructed in the middle of the square. Adjacent to the railing, the canons of the military surrounded the central pool." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Portrait of a Bearded Man [graphic]
FSA A.04 2.12.GN.01.08a
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 1."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Copy print of another photograph. The original photo is not an albumen print, indicated by the white borders. A close comparison of the background of the image with another image in the collection (1.7) indicates that this image -like the othe rone of the national bank of Iran- might be taken later in the 1930s." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Portrait of a Bearded Man [graphic]
FSA A.04 2.12.GN.01.08b
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 1."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Copy print of another photograph. The original photo is not an albumen print, indicated by the white borders. A close comparison of the background of the image with another image in the collection (1.7) indicates that this image -like the othe rone of the national bank of Iran- might be taken later n the 1930s." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Qum (Iran): Hazrat-i Ma'suma Shrine Complex (Shrine of Fatima al-Ma'suma) [graphic]
FSA A.04 2.12.GN.01.09
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 1."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The initial construction on the site of the holy shrine - with an octagonal plan - in Qum dates back to 13th century. In addition to northward expansion of the whole complex, the original octagonal dome was also modified into a round structure in the earlier years of Safavid dynasty. the southwest corner of the structure houses the tombs of more than a few of Safavid kings, including Shah Sultan Hussayn and Shah Safi. In the 1880s, the new courtyard to the shrine was ordered by Amin al-Sultan, during which the two grand minarets of the western iwan and the two smaller minarets of the entrance were also added to the complex. The golden dome is dated back to Fath Ali Shah-I Qajar, which is consistent with the other restorations to religious buildings of the time. The photograph shows the complex of the shrine from afar and behind so that that entrance arch is not visible. The view however shows a bit of the architectural landscape of the city around the shrine with domed rooftops. Fath Ali Shah Qajar and Muhammad Shah Qajar, as well as Mahd-i Awliya, Nasir al-Din Shah's mother, are buried in the northern courtyard of this shrine. The image might be a copy print." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 1.4: Iran. Kum - general view." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Dayirat al-Ma'arif-I Buzurg-I Islami (The Great Encyclopedia of Islam): http://www.cgie.org.ir/shavad.asp?id=130&avaid=203
Sayyid Mohammad Taqi Motafavi, Asar-I Tarikhi-I Tehran: Amakin-I Mutibarraka, Tehran: Anjuman-I Asar-I Milli, 1982, p:423-425
Tehran (Iran): Masjid-i Shah Abd al 'Azim (Shah Abd al 'Azim Mosque) [graphic]
FSA A.4 2.12.GN.01.10
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 1."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The Seljuk Shrine/mosque has a lengthy list of restorations during the years, a few of the most significant of which is from Qajar period. From adding minarets and tile work to restoring the other structures and shrines around the main building, works were carried out in the span of about a hundred years during the reigns of Fath Ali Shah, Nasir al-Din Shah and Muzaffar al-Din Shah Qajar. Its golden dome was added during Nasir al-Din Shah's reign, who ordered the dome to be covered in Gold covered copper sheets around 1850s. The minarets were added around 1890s. Many of the images of the building in the 1900s publications are missing the most recent addition of the minarets. The image shows the cemetery behind the main courtyard of the mosque, with the dome and minarets of the shrine visible in the background. The shrine is also the burial place of Nasir al-Din Shah whose tombstone - in white marble - is a notable marker of the Shah's burial place." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 1.4: Iran. Tehran - Shah Abdul Azim." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Sayyid Mohammad Taqi Motafavi, Asar-I Tarikhi-I Tehran: Amakin-I Mutibarraka, Tehran: Anjuman-I Asar-I Milli, 1982, p:421-423
Province of Fars (Iran): Yazd-i Khast or Izad-Khast Complex [graphic]
FSA A.4 2.12.GN.01.11
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 1."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"This complex contains the castle of Izad-khast (from Sassanid period), a caravanserai and a bridge of Safavid times. The works inside of the castle belong to different periods from Sassanids to Qajars. The castle of Izad-khast, built on a rock bed, has been resistant to decay and destruction because of its natural base. The photo depicts the structure from the side, presenting its overall size and extension into space. Also, since the point of view of the camera is on a lower ground than the base of the structure, the building appears grander and more imposing in space. Compared to another image of the same structure in the archives (FSA A.4 2.12.GN.01.06), this image seems to have been taken on different dates but from almost identical point of views. Also a close comparison of the tow shows the state of a building in decay. The short pillars on the far left end of the rooftop of the building are all but eliminated in the newer image." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 1.4: Iran. Fars - Yazd-i Khwast." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Yahya Zoka and Mohammad Hassan Semsar, Tehran Dar Tasvir, Tehran: Sazman-i Miras-i Farhangi-i Kishvar, 1997, p:137-149
Tehran (Iran): Maydan-i Tupkhana (Canons Square): Bank-i Shahanshahi-i Iran (Imperial Bank of Persia) [graphic]
FSA A.4 2.12.GN.01.12
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 1."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The bank was established as a result of Iran's agreement with Julius De Reuter in 1889. for the first year of its establishment the bank operated from its London headquarters after which it was moved to the building in Maydan-i Tupkhana. The old structure, depicted in this image was replaced by the new brick structure of National Bank in 1930s. The photo shows the structure in the background of a group of men and children in its courtyard. The children's semi military attire is characteristic of Pahlavi era headgear and formal dress." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 1.12: Iran. Tehran? - maidan Sepah." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Children and Adults Travelling on Donkeys [graphic]
FSA A.4 2.12.GN.01.13
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 1."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 1.13: Iran. Horse riding." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Children and Adults on Donkeys [graphic]
FSA A.4 2.12.GN.01.14
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 1."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 1.14: Iran. Horse riding." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "The sky is reddened. The devolved image who would have a completely white sky."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Man on Donkey [graphic]
FSA A.4 2.12.GN.01.15
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 1."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 1.15: Iran. poultry." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Men and Donkeys in Landscape [graphic]
FSA A.4 2.12.GN.01.16
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 1."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 1.16: Iran. Horse riding." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Shepherds and Sheep [graphic]
FSA A.4 2.12.GN.01.17
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 1."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 1.17: Iran. Sheep farming." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Isfahan (Iran): Si-o-Se pol or Pol-i Allah Verdi Khan (Allah Verdi Khan Bridge) [graphic]
FSA A.4 2.12.GN.01.18
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This negative was included in "Box 1."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
This is the only film negative in the collection, and likely dates to the early 20th century. "The shepherd is standing on the banks of Zayanda Rud (Zayanda river) in Isfahan. The brick structure in the background is the main bridge over the river, called Allah Verdi Khan bridge or Si-o-Se pol (33 bridges). The focus of the scene seems to be on the shepherd and his sheep, however, a few other images of the same bridge is available in the archive of Sevruguin's photographs which indicates that he has set up the space so that the remaining of the bridge would show behind the standing figure of shepherd." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "Nitrate negative. With emulsion falling apart."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 1.18: Iran. Sheep farming." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Soldiers Standing behind Barbed Wire [graphic]
FSA A.4 2.12.GN.01.19
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 1."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The image - a copy print of another photograph - should have been taken during the earlier days of Pahlavi. The military attire and hats can be dated to around 1920s." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 1.19: Iran - soldiers (?)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Studio Portrait: A Family [graphic]
FSA A.4 2.12.GN.01.20
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 1."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The image is a family portrait in Sevruguin's studio. The family is posed in front of a railing - supposedly marble railings - and a half-drawn curtain. The background is of an open garden. The studio props - though inconsistent with an overall impression - give the illusion of the photo being taken in front of a window, overlooking a grand garden. The bit of railing on the side could be seen as the side railing of a balcony. The setting is, however, foreign to the local principles of architecture in Iran, thus the illusion is of a western house." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 1.20: Iran - a family." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Old Delhi (India): Shah Jahan's Jami Mosque [graphic]
FSA A.4 2.12.GN.02.01
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 2."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The image is of the entrance to the Shah Jahan's Jami Mosque in New Delhi. The image stands alone in Sevruguin's collection since there are no other images of the same site or of India. The negative therefore could have been acquired by Sevruguin Studio or might have been mixed up with his collection in Pahlavi's confiscation of the collection." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 2: unknown." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Street Scene [graphic]
FSA A.4 2.12.GN.02.02
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 2."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 2: unknown." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Building [graphic]
FSA A.4 2.12.GN.02.03
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 2."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 2: unknown." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Possibly the Dasht-i Lar Region, Mount Damavand in Background: Woman in European Attire with Caravan Escort [graphic]
FSA A.4 2.12.GN.02.04
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 2."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "The sky is reddened with brushworks visible. Snow drawn on the mountain top."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 2: unknown." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Studio Portrait: Veiled Woman [graphic]
FSA A.4 2.12.GN.02.05
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 2."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The photo is of a woman with chador and face-cover, with the white cloth of the face-cover partially removed to show the eyes and most of the nose. The studio portrait seems to have been produced on the orders of the patron as it differs from the other images of covered and uncovered women in the archive of Sevruguin images." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "Most probably a patch of varnish on the face and the chador under the chin."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 2: unknown." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran), Darvaza Dawlat (Dawlat City Gate): Soldiers Standing in Front of the Closed Gates [graphic]
FSA A.4 2.12.GN.02.06
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 2."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The photo depicts a group of soldiers in front of the Dawlat gate of Tehran. The structure is shown from inside the walls of the city. The structure of Darvaza Dawlat dates to Nasir Al-Din Shah's time. After the expansion of Tehran, which started in 1867, six gates were added to the city walls of Tehran, one of the most elaborately designed one of which was Darvaza Dawlat. The gate was built in 1871 by Mohammad Rahim Khan 'Ala al-Dawla (Amir Nizam). Located on the north side of the wall, Darvaza Dawlat, along with Shimiran and Yusif Abad Gates, marked the northern boundaries of the city. The view of all of the gates usually differed from the side facing the city to the side facing the outside. Almost all of the twelve gates of the city were torn down during the later expansion of Tehran in 1930s. an overall view of the Darvaza Dawlat from inside the city walls of Tehran can be seen in Neg.61.5." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "Small spot on the bottom left of the negatives have parse line drawn."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 2: unknown." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Studio Portrait: Seated Veiled Woman with Pearls [graphic]
FSA A.4 2.12.GN.02.07
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 2."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Portrait of the seated woman in velvet, wearing a pearl rope. The outline of the woman's face is visible under her sheer face cover. The pleated skirt of the woman indicates that the photo is produced most likely in the early 20th century. The composition and subject matter of the photo is different from other studio portraiture of women in Sevruguin's collection. The face of the figure is covered in this image and there is no trace of a background studio setting. The woman turns away from the camera, giving only a partial view of her profile." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 2: unknown." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Studio Portrait: Two Older Men Seated in Front of Standing Young Man [graphic]
FSA A.4 2.12.GN.02.08
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 2."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Group portrait of three men. Two older men sitting in the front row and a younger man is standing between them at the back. The image is devoid of any studio props or context. The background seems to be a bare wall and from only one leg of a chair visible in the image the chairs also seem to be unadorned. Both of the seated figures have very plain walking sticks in hands and the figure on the right is holding a tea cup in its saucer while the one on the left is holding a rosary. In contrast to the two seated figures' plain cloths, the young man/boy in the back is wearing what looks like a vest with adornment. The image seems to be a formal group portrait in composition, however, the bare surrounding and minimal embellishment of the setting and the figures are not common for the studio portraits of the time." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "Copy print."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 2: unknown." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Studio Portrait: Two Men, A Young Man and Three Boys [graphic]
FSA A.4 2.12.GN.02.09
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 2."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Group portrait of two men and three children. The youngest boy is sitting on the chair, frowning at the camera, while the two older boys stand beside and behind him. A young man is accompanied by two older men in the back row of the image. The brick wall of the background wall is covered with a piece of cloth with a small part of the wall visible in the left top corner of the image. The seated young boy's hand is on top of a table, covered in cloth." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "The image is a reprint of a photograph that is missing the lower part. Antoin Sevruguin seems to have drawn the missing part on the photograph and then taken a image of the remade photograph. On the negative he puts extra varnish on this spot which would blur the brush work, making it look like part of the original image."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 2: unknown." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Threshing [graphic]
FSA A.4 2.12.GN.02.10
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 2."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 2: unknown." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Possibly Province of Gilan (Iran): House in Ruins [graphic]
FSA A.4 2.12.GN.02.11
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 2."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The figure on the right is in 'western' attire." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 2: unknown." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Men and Women on Donkeys [graphic]
FSA A.4 2.12.GN.02.12
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 2."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 2: unknown." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Possibly a Government Building [graphic]
FSA A.4 2.12.GN.02.13
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 2."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The small size of the structure and the absence of extensive decorations on the façade suggests that though the building is of official stature - judging by the flag on top of th emain entrance - it might have been used more as a residence than an office building." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "There is a small dent in the emulsion on top of the tree branches on the right."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 2: unknown." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Qulhak (Iran): Camp Set in Front of Hills [graphic]
FSA A.4 2.12.GN.03.01
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 3."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "519) Hills near Gulhak." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 3.1: Hills near Gullak." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Seascape with Men in Boats [graphic]
FSA A.4 2.12.GN.03.02
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 3."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Judging by the lone man's headgear, the scene could be taken on Karun river." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass is chipped in an almost round shape."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "993."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 3.2: Boats on sea." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Maydan-i Tupkhana (Canons Square): Nearby Avenue [graphic]
FSA A.4 2.12.GN.03.03
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 3."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The new Canons' square and the two storey buildings surrounding it was built between 1867 and 1877 on the north side of the old Canons' square or Maydan-i Arg. The two storey building in the background of the image surrounding the square was initially planned as a reservoir of military equipment and a meeting and living place of military officials. Partially visible in this image, a large and shallow pool, surrounded by trees and greenery and a railing around the whole area was constructed in the middle of the square. Adjacent to the railing, the canons of the military surrounded the central pool." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "521) Nazmiyeh." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 3.3: Nazmieh - Street scene." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Masjid-I Sipahsalar (Sipahsalar Mosque): Large Gathering in Front of the Main Entrance Portal [graphic]
FSA A.4 2.12.GN.03.04
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 3."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The Madrasa/mosque complex was built in 1866 on the orders of Mirza Mohammad Khan Sipahsalar (d.1867), Nasir al-Din shah's minister of the army and later chief minister. The complex includes also a library, bath, and hospital. The photo depicts the gathering of people in front of the main entrance to the mosque. The recessed arches of the outer walls house the travelling mechants' products, which seems to consist mainly of fabrics." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "On the non-emulsion side of the negative a piece of paper is glued to the angles that covers the sky area around the top of the structure."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "1092."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 3.4: Large mosque." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Maydan-i Tupkhana (also known as Maydan-i Sipah or Square of Canons) [graphic]
FSA A.4 2.12.GN.03.05
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 3."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "1010."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "568."
"The new Canons' square and the two storey buildings surrounding it was built between 1867 and 1877 on the north side of the old Canons' square or Maydan-i Arg. The two storey building in the background of the image surrounding the square was initially planned as a reservoir of military equipment and a meeting and living place of military officials. A large and shallow pool, surrounded by trees and greenery and a railing around the whole area was constructed in the middle of the square. Adjacent to the railing, the canons of the military surrounded the central pool. The main gate to the square and the structure known as Mil-Asia is visible outside the boundaries of the square." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The photographer's fingerprints is on the top of the negative. There are delicate markings on the foreground."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "509) ToupKhaneh." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 3.5: Nazmieh - Toup Khaneh - g.v.." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Albumen print numbered FSA A2011.03 A.09b; available in Stephen Arpee Collection of Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Kakh-i Sahibqaraniyya (Sahibqaraniyya Palace), Talar-i Ayena (Hall of Mirrors): Nasir Al-Din Shah at his Desk [graphic]
FSA A.4 2.12.GN.03.06
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 3."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Kakh-i Sahib-Qaraniyya (Sahib-Qaraniyya palace complex) was built on the orders of Nasir al-Din Shah Qajar and by Yahya Khan-i Mushir al-Dawla in 1879. The complex was located in the village of Niavaran, which is in the northeast side of the current city of Tehran. The 1879 construction of the palace added to and expanded the small palace complex which was built on the site during Fath Ali Shah's reign and maintained during Mohammad Shah's time after his father. Nasir al-Din Shah expanded the original plan to build one of the most elaborate summer residences of both Qajar and Pahlavi kings in the next 70 years. The palace has since gone through multiple and extensive rounds of renovations and expansions. In this photo, Nasir Al-Din Shah can be seen at the far end of the image behind a desk with his attendants looking at the camera. The photo is taken inside the Sahib-Qaraniyya palace's main room, Talar-i Ayina (Hall of mirrors). The dark figure of the photographer and his camera on its tripod is reflected in the mirror behind Nasir Al-Din Shah. The composition cleverly positions the photographer within the image and the Shah's courtiers, while demanding the direct and exclusive engagement of the Shah with the camera and the absent viewer of the image." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 3.6: Nazmieh - Scene in home." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Exterior of Jar [graphic]
FSA A.4 2.12.GN.04.01
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 4."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 4.1: (P) [black-and-white print on hand]. Rugs and pottery in Shiraz (?)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Interior of Four Bowls [graphic]
FSA A.4 2.12.GN.04.02
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 4."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 4.2: (P) [black-and-white print on hand]. Rugs and pottery in Shiraz (?)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Interior of Minai Bowl [graphic]
FSA A.4 2.12.GN.04.03
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 4."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The bottom part of the negative has a stain."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 4.3: (P) [black-and-white print on hand]. Rugs and pottery in Shiraz (?)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Figural Ewer [graphic]
FSA A.4 2.12.GN.04.04
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 4."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The object is an ewer, attributed to Kashan in central Iran. It is currently held at the Victoria and Albert Museum's Islamic Art collection (C.1954-1910). According to the museum, it is made between 1175-1200 AD and the material is "Fritware with opaque cobalt-blue glaze and lustre-painted decoration." The ewer measures around 27.5 cm in height and 16.5 cm in diameter. The body of the ewer is decorated with two seated figures (probably men) with animals depicted on the neck of the object." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative has stains which might have been cause by water."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 4.4: (P) [black-and-white print on hand]. Rugs and pottery in Shiraz (?)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Persian Carpet [graphic]
FSA A.4 2.12.GN.04.05
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 4."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 4.5: (P) [black-and-white print on hand]. Rugs and pottery in Shiraz (?)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Exterior of Minai Bowl [graphic]
FSA A.4 2.12.GN.04.06
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 4."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The bowl is dated to Seljuq Period, approximately 12th- 13th century. It is attributed to Kashan, Iran as its place of origin. The bowl is currently in the Smithsonian's Freer|Sackler collection(1938.13). It is described as made of stone-paste, painted under clear glaze. The same bowl is shown in Neg.7.3 (FSA A.4 2.12.GN.07.03) and Neg. 11.3 (FSA A.4 2.12.GN.11.03)." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is broken on thereby side with a big chunk missing. The measurements are taken of the longest part of the negative as it is today."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 4.6: (P) [black-and-white print on hand]. Rugs and pottery in Shiraz (?)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.4 2.12.Sm.92; available in Myron Bement Smith Collection, ca. 1910-1970.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Two Earthenware Jars with Painted and Raised Ornamentation [graphic]
FSA A.4 2.12.GN.04.07
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 4."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is broken on thereby side with a big chunk missing. The measurements are taken of the longest part of the negative as it is today."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 4.7: (P) [black-and-white print on hand]. Rugs and pottery in Shiraz (?)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Earthenware Jar with Handles and Raised Ornamentation [graphic]
FSA A.4 2.12.GN.04.08
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 4."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 4.8: (P) [black-and-white print on hand]. Rugs and pottery in Shiraz (?)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Figural Ewer [graphic]
FSA A.4 2.12.GN.04.09
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 4."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The object in the photo looks like a lustre glazed ewer of around early 13th century with figures painted on its body." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "There might be some retouching on the handle of the ewer."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 4.9: (P) [black-and-white print on hand]. Rugs and pottery in Shiraz (?)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Persian Carpet [graphic]
FSA A.4 2.12.GN.04.10
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 4."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "There is some emulsion loss on the right edge."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 4.10: (P) [black-and-white print on hand]. Rugs and pottery in Shiraz (?)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Statue of Woman and Child [graphic]
FSA A.4 2.12.GN.04.11
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 4."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 4.11: Rugs and pottery in Shiraz (?)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Persian Carpet [graphic]
FSA A.4 2.12.GN.04.12
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 4."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The emulsion is coming off on the right side."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 4.12: (P) [black-and-white print on hand]. Rugs and pottery in Shiraz (?)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Incense Burner [graphic]
FSA A.4 2.12.GN.04.13
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 4."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The incense burner is most probably made of bronze. The round body of the burner is supported on three legs and a bird is placed atop the body. The body of the burner is a pierced three-quarter sphere, with a small round opening on the top section, underneath the bird. The object is commonly attributed to Khurasan, on the northeastern corner of Iran, made between 12 and 13 century AD." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is chipped off on the right edge both on the side and the top."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 4.13: (P) [black-and-white print on hand]. Rugs and pottery in Shiraz (?)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Jar with Handles and Raised Ornamentation [graphic]
FSA A.4 2.12.GN.05.01
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 5."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 5.1: (P) [black-and-white print on hand]. Pottery." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Silver and Gold Ewer [graphic]
FSA A.4 2.12.GN.05.02
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 5."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "The right foot of the object is painted over. The retouching constructs new outlines for the object on that foot."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 5.2: (P) [black-and-white print on hand]. Pottery." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Mirror of Cast Bronze [graphic]
FSA A.4 2.12.GN.05.03
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 5."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "983."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 5.3: (P) [black-and-white print on hand]. Pottery." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Vase with Painted Ornamentation [graphic]
FSA A.4 2.12.GN.05.04
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 5."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "Some touch ups might be the reason for the white streak on the left side of the object."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 5.4: (P) [black-and-white print on hand]. Pottery." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Interior of Minai Bowl [graphic]
FSA A.4 2.12.GN.05.05
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 5."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "A big chunk of glass is broken off the bottom."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 5.5: (P) [black-and-white print on hand]. Pottery." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Two-handled Jar and Interiors of Two Bowls [graphic]
FSA A.4 2.12.GN.05.06
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 5."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 5.6: (P) [black-and-white print on hand]. Pottery." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Interior of Bowl [graphic]
FSA A.4 2.12.GN.05.07
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 5."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "Small stain on the top right side of the object."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 5.7: (P) [black-and-white print on hand]. Pottery." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Interior of Three Bowls [graphic]
FSA A.4 2.12.GN.06.01
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 6."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "Slight browning on the glass negative."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 6.1: (P) [black-and-white print on hand]. Pottery." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Interior of Bowl with Animal Design [graphic]
FSA A.4 2.12.GN.06.02
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 6."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 6.2: (P) [black-and-white print on hand]. Pottery." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.4 2.12.Sm.94; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Interior of Minai Bowl with Figural Ornamentation [graphic]
FSA A.4 2.12.GN.06.03
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 6."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "The outlines of the seated figure is touched up and painted with ink on the negative. The ink is chipped away but still visible."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 6.3: (P) [black-and-white print on hand]. Pottery." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Interior of Bowl [graphic]
FSA A.4 2.12.GN.06.04
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 6."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Lustre-Painted Ware, Sweetmeat dish, formerly in Kevorkian collection, Late 12th- early 13th century." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "Remnants of brown varnish on the negative."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 6.4: (P) [black-and-white print on hand]. Pottery." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Arthur U. Pope, A Survey of Persian Art,London: Oxford University Pess, 1964, Vol. 10, p:644/C
Interior of Bowl [graphic]
FSA A.4 2.12.GN.06.05
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 6."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "The borders of the trees on the left side of the object are darkened on the negative with ink that is chipping away."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 6.5: (P) [black-and-white print on hand]. Pottery." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Bowl, Two Ewers, and Two Jars [graphic]
FSA A.4 2.12.GN.06.06
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 6."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 6.6: (P) [black-and-white print on hand]. Pottery." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Interior of Four Bowls [graphic]
FSA A.4 2.12.GN.06.07
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 6."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 6.7: (P) [black-and-white print on hand]. Pottery." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Bowl, Jar, and Jug [graphic]
FSA A.4 2.12.GN.06.08
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 6."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 6.8: (P) [black-and-white print on hand]. Pottery." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Jar and Interior of Two Bowls [graphic]
FSA A.4 2.12.GN.06.09
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 6."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 6.9: (P) [black-and-white print on hand]. Pottery." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Interior of Minai Bowl [graphic]
FSA A.4 2.12.GN.07.01
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 7."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Inside a Mina'i Bowl, Frit (stonepaste) body, with polychrome panting (haft rang or seven-colored) on opaque white glaze and blue and torquoise under the glaze, Kashan ware of around 12th- 13th century. It is currently in Kuwait, Al-Sabah Collection (LNS 308 C). In his book of 1964 on Persian Art, Arthur Pope reproduces an image of the bowl and notes that it has been part of the Kelekian collection in Victoria and Albert Museum." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "Remnants of brown varnish all over the negative."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 7.1: (P) [black-and-white print on hand]. Pottery." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Giovanni Curatola, Persian Ceramics From the 9th to the 14th Century, Torino: Skira Editore S.p.A, 2006, p:120
Interior of Minai Bowl [graphic]
FSA A.4 2.12.GN.07.02
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 7."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 7.2: (P) [black-and-white print on hand]. Pottery." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Exterior of Minai Bowl [graphic]
FSA A.4 2.12.GN.07.03
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 7."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The bowl is dated to Seljuq Period, approximately 12th- 13th century. It is attributed to Kashan, Iran as its place of origin. The bowl is currently in the Smithsonian's Freer|Sackler collection(1938.13). The bowl is described as made of stone-paste, painted under clear galze. The same bowl is shown in Neg.4.6 (FSA A.4 2.12.GN.04.06) and Neg. 11.3 (FSA A.4 2.12.GN.11.03)." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 7.3: Pottery." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Interior of Four Bowls [graphic]
FSA A.4 2.12.GN.07.04
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 7."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "A big chunk of glass at the right end of the image is broken thus a correct sizing of it is not possible."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 7.4: (P) [black-and-white print on hand]. Pottery. (broken)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Ewer [graphic]
FSA A.4 2.12.GN.07.05
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 7."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "The left side border of the object might be touched up with ink."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 7.5: (P) [black-and-white print on hand]. Pottery." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Twelve-Pointed Star Minai Dish [graphic]
FSA A.4 2.12.GN.07.06
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 7."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The "Rustam and Dragon" star is dated to Seljuq period and around 12th century. The object is made of stone-paste and painted with enamel, most probably in Kashan, Iran. It measures around 18 centimeters in diameter and 1.7 centimeters in width. It is a gift of Charles Lang Freer currently in Freer|Sackler collection (F1911.319)." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 7.6: (P) [black-and-white print on hand]. Pottery." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Exterior of Jar [graphic]
FSA A.4 2.12.GN.07.07
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 7."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The top right edge of the negative is chipped off. There are remants of brown varnish all over but very spotty."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 7.7: (P) [black-and-white print on hand]. Pottery." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Fragment of Enameled Copper Dish with Elaborate Ornamentation [graphic]
FSA A.4 2.12.GN.07.08
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 7."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 7.8: (P) [black-and-white print on hand]. Pottery." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.6 04.05.v3.001; available in Ernst Herzfeld Papers, Series 4: Photographic Files, 1903-1947.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Fragments of Jar and Bowl with Arabic Inscription [graphic]
FSA A.4 2.12.GN.07.09
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 7."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 7.9: Pottery." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Jar and Interiors of Three Bowls [graphic]
FSA A.4 2.12.GN.07.10
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 7."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The right side of the negative is chipped off. Spots of Rowan all over the surface."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 7.10: (P) [black-and-white print on hand]. Pottery." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Pottery Figure of a Horse [graphic]
FSA A.4 2.12.GN.07.11
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 7."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass is cut unevenly resulting in difference of width."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 7.11: (P) [black-and-white print on hand]. Pottery. Antique." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Sculpted Figure Depicting Bull's Head [graphic]
FSA A.4 2.12.GN.07.12
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 7."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The smaller original negative is glued to a bigger negative. The tape is still visible on the sides."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 7.12: (P) [black-and-white print on hand]. Pottery. Antique." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Persian Carpet [graphic]
FSA A.4 2.12.GN.07.13
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 7."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "Very thick piece of glass."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 7.13: (P) [black-and-white print on hand]. Carpet. (neg. damaged)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Persian Carpet [graphic]
FSA A.4 2.12.GN.07.14
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 7."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "Very thick piece of glass."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 7.14: (P) [black-and-white print on hand]. Carpet. (neg. damaged)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Jar with Arabic Inscription and Raised Ornamentation [graphic]
FSA A.4 2.12.GN.08.01
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 8."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 8.1: Pottery." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Jar, Bowl, and Ewer [graphic]
FSA A.4 2.12.GN.08.02
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 8."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The object on the far left side of the image is a vase made in Saveh of around 13th century." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The negative is chipped off on the top left side."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 8.2: Pottery." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Interior of Twelve Bowls [graphic]
FSA A.4 2.12.GN.08.03
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 8."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 8.3: Pottery." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Dish, Jug, and Bowl [graphic]
FSA A.4 2.12.GN.08.04
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 8."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The negative is chipped off on the either edge at the bottom."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 8.4: Pottery." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Interior of Minai Bowl [graphic]
FSA A.4 2.12.GN.08.05
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 8."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 8.5: Pottery." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Interior of Bowl [graphic]
FSA A.4 2.12.GN.08.06
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 8."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 8.5: Pottery." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Jar with Arabic Inscription and Raised Ornamentation [graphic]
FSA A.4 2.12.GN.08.07
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 8."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 8.7: Pottery." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Fragment of Ceramic Depicting Human Figure [graphic]
FSA A.4 2.12.GN.08.08
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 8."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 8.8: Sculpture." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Persian Carpet [graphic]
FSA A.4 2.12.GN.08.09
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 8."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "Very thick piece of glass."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 8.9: (P) [black-and-white print on hand]. Carpet." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Ewer and Jug [graphic]
FSA A.4 2.12.GN.09.01
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 9."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The ewer dates to 13th century and it has been part of the Parish-Watson collection." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 9.1: Pottery." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
R. Meyer Riefstahl, The Perish-Watson Collection of Mohammadan Potteries, New York: E. Weyhe,1922, Fig.90
Interior of Bowl [graphic]
FSA A.4 2.12.GN.09.02
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 9."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 9.2: Pottery." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Interior of Bowl [graphic]
FSA A.4 2.12.GN.09.03
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 9."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 9.3: Pottery." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Interior of Three Bowls [graphic]
FSA A.4 2.12.GN.09.04
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 9."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 9.4: Pottery." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Jar [graphic]
FSA A.4 2.12.GN.09.05
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 9."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 9.5: Pottery." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Interior of Minai Bowl [graphic]
FSA A.4 2.12.GN.09.06
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 9."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"12th-13th Century." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 9.6: Pottery." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Interior of Minai Bowl (broken) [graphic]
FSA A.4 2.12.GN.09.07
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 9."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"12th-13th Century." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 9.7: Pottery." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Earthenware Jar with Handles and Raised Ornamentation [graphic]
FSA A.4 2.12.GN.09.08
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 9."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 9.8: Pottery." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Two Ewers and a Bowl [graphic]
FSA A.4 2.12.GN.09.09
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 9."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The ewer on the right side of the image is from late 13th century." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation and condition reads, "Brushworks visible on the negative. A very dark brown color is on the negative."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 9.9: Pottery." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Pottery Figure of a Ram [graphic]
FSA A.4 2.12.GN.09.10
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 9."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation and condition reads, "Brushworks visible on the negative. A very dark brown color is on the negative."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 9.10: Sculpture." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Persian Carpet [graphic]
FSA A.4 2.12.GN.10.01
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 10."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 10.1: (P) [black-and-white print on hand]. Carpet." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Ornate Teapot and Sugar Bowl [graphic]
FSA A.4 2.12.GN.10.02
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 10."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 10.2: Pottery." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Glass negative numbered FSA A.4 2.12.GN.58.11; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Ewer [graphic]
FSA A.4 2.12.GN.10.03
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 10."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 10.3: (P) [black-and-white print on hand]. Pottery." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Pottery Figure of a Horse [graphic]
FSA A.4 2.12.GN.10.04
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 10."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 10.3: (P) [black-and-white print on hand]. Sculpture." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Interior of Bowl (broken) [graphic]
FSA A.4 2.12.GN.10.05
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 10."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is stuck to another. Seems that it was broken and the either sheet of glass is protecting it."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 10.5: (P) [black-and-white print on hand]. Pottery." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Interior of Bowl [graphic]
FSA A.4 2.12.GN.10.06
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 10."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The top edge is cut uneven."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 10.6: (P) [black-and-white print on hand]." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Eight Bowls [graphic]
FSA A.4 2.12.GN.10.07
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 10."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 10.7: ." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Interior of Multi-Lobed Bowl [graphic]
FSA A.4 2.12.GN.10.08
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 10."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Bowl, Lustre-Painted and polychrome, possibly from Ray, 13th century, Klekian Collection currently in Victoria and Albert Museum.." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The top edge is chipped off."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 10.8: (P) [black-and-white print on hand]." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Interior of Two Bowls [graphic]
FSA A.4 2.12.GN.10.09
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 10."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 10.9: ." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Ceramic Container Depicting an Elephant [graphic]
FSA A.4 2.12.GN.10.10
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 10."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "Browsing on the lower right quarter of the glass negative."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 10.10: (P) [black-and-white print on hand]. Sculpture." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Figure Depicting Lion's Head [graphic]
FSA A.4 2.12.GN.10.11
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 10."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "Browsing on the lower right quarter of the glass negative."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 10.11: (P) [black-and-white print on hand]. Sculpture." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Three Bowls and Two Jars [graphic]
FSA A.4 2.12.GN.10.12
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 10."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is cracked."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 10.12: (P) [black-and-white print on hand]. (cracked) Pottery." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Ceramic Container Depicting an Elephant [graphic]
FSA A.4 2.12.GN.10.13
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 10."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 10.13: (P) [black-and-white print on hand]. Sculpture." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Earthenware Jar with Raised Ornamentation [graphic]
FSA A.4 2.12.GN.11.01
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 11."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "1252."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 11.1: (P) [black-and-white print on hand]. Pottery." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Ewer, Two Jugs, and Two Bowls [graphic]
FSA A.4 2.12.GN.11.02
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 11."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 11.2: (P) [black-and-white print on hand]. Pottery." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Figural Ornamentation on Base of Minai Bowl [graphic]
FSA A.4 2.12.GN.11.03
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 11."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The bowl is dated to Seljuq Period, approximately 12th- 13th century. It is attributed to Kashan, Iran as its place of origin. The bowl is currently in the Smithsonian's Freer|Sackler collection (1938.13). The bowl is described as made of stone-paste, painted under clear glaze. The same bowl is shown in Neg.4.6 (FSA A.4 2.12.GN.04.06) and Neg.7.3 (FSA A.4 2.12.GN.07.03)." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 11.3: (P) [black-and-white print on hand]. Pottery." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.4 2.12.Sm.93; available in Myron Bement Smith Collection, ca. 1910-1970.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Jug, Two Jars, Bowl, and Animal Head [graphic]
FSA A.4 2.12.GN.11.04
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 11."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 11.4: (P) [black-and-white print on hand]. Pottery." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Earthenware Jar with Raised Ornamentation [graphic]
FSA A.4 2.12.GN.11.05
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 11."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 11.5: (P) [black-and-white print on hand]. Pottery." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Three Jars and Two Ewers [graphic]
FSA A.4 2.12.GN.11.06
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 11."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 11.6: (P) [black-and-white print on hand]. Pottery." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Three Jars [graphic]
FSA A.4 2.12.GN.11.07
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 11."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 11.7: (P) [black-and-white print on hand]. Pottery." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Ewer and Four Jars [graphic]
FSA A.4 2.12.GN.11.08
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 11."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 11.8: (P) [black-and-white print on hand]. Pottery." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Figural Jar [graphic]
FSA A.4 2.12.GN.11.09
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 11."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 11.9: (P) [black-and-white print on hand]. Pottery." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Isfahan (Iran): Ayina-khana (Hall of Mirrors) [graphic]
FSA A.4 2.12.GN.12.01
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 12."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The photo is of an etching, depicting the Ayina-Khana palace in Isfahan. The palace was built by Shah Safi (Safavid) or Shah Abbas II in the 17th century to resemble Chihil Sutun. It was destroyed in 1891 by orders from the Qajar ruler of the city: Zil al-Sultan. Mas'ud Mirza or Zil al-Sultan was Nasir Al-Din Shah's oldest son and the governor of Isfahan for about thirty years. There are photographs of the same building in Sevruguin's archives. The photo is from a lithograph published in Voyage en Perse de 'MM. Eugène Flandin, peintre, et Pascal Coste, architecte, entrepris par ordre de M. le ministre des affaires étrangères, d'après les instructions dressées par l'Institut. Publié sous les auspices de M. le ministre de l'intérieur. Paris: Gide et J. Baudry, 1840-41'." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 12.1: Iran. Photograph of etching: Isfahan - Chihil Sutun - g.v." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Isfahan (Iran): Masjid-i Shah (Royal Mosque) [graphic]
FSA A.4 2.12.GN.12.02
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 12."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The photo is from a lithograph depicting Masjid-i Shah (Shah Mosque) in Isfahan's Naqsh-i Jahan square. The view of the maydan and the mosque are reversed in the lithograph. The mosque should be flanked by the Ali Qapu entrance/palace to its left and Shaykh Lutf Allah mosque to its right. The lithograph was published in Flandin, Eugène, and Pascal Coste. Voyage en Perse de mm. Eugène Flandin, peintre, et Pascal Coste, architecte, entrepris par ordre de m. le ministre des affaires étrangères, d'après les instructions dressées par l'Institut. Publié sous les auspices de m. le ministre de l'intérieur. Paris: Gide et J. Baudry, 1840-41. The book was one of the comprehensive studies of the orient at the time." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 12.2: Iran. Photograph of etching: Isfahan - maidan-i Shah and masjid-i Shah." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Isfahan (Iran): Madrasa-i Shah Hussayn (Madrasah-i Madar-i Shah) [graphic]
FSA A.4 2.12.GN.12.03
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 12."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The photo is from a lithograph depicting Masjid-i Shah (Shah Mosque)'s entrance arch from inside its courtyard. The book was one of the comprehensive studies of the orient at the time.The photo is from the lithograph published in Flandin, Eugène, and Pascal Coste. Voyage en Perse de mm. Eugène Flandin, peintre, et Pascal Coste, architecte, entrepris par ordre de m. le ministre des affaires étrangères, d'après les instructions dressées par l'Institut. Publié sous les auspices de m. le ministre de l'intérieur. Paris: Gide et J. Baudry, 1840-41." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 12.3: Iran. Photograph of etching: Isfahan - masjid-i Shah. Portal." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Kakh-i Gulistan (Gulistan Palace): Patio and Veranda of Takht-i Marmar (Marble Throne) [graphic]
FSA A.4 2.12.GN.12.04
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 12."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The lithograph depicts the front courtyard of Gulistan palace and Takht-i Marmar on the balcony from the left side of the building. The book was one of the comprehensive studies of the orient at the time. The photo is from the lithograph published in Flandin, Eugène, and Pascal Coste. Voyage en Perse de mm. Eugène Flandin, peintre, et Pascal Coste, architecte, entrepris par ordre de m. le ministre des affaires étrangères, d'après les instructions dressées par l'Institut. Publié sous les auspices de m. le ministre de l'intérieur. Paris: Gide et J. Baudry, 1840-41." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 12.4: Iran. Photograph of etching: ? - Palace. Similar to Shrine of Fatimeh at Kum." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Kakh-i Gulistan (Gulistan Palace): Patio and Veranda of Takht-i Marmar (Marble Throne) [graphic]
FSA A.4 2.12.GN.12.05
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 12."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The lithograph depicts the front courtyard of Gulistan palace and Takht-i Marmar on the balcony from the right side of the building. The lithograph was published in Flandin, Eugène, and Pascal Coste. Voyage en Perse de mm. Eugène Flandin, peintre, et Pascal Coste, architecte, entrepris par ordre de m. le ministre des affaires étrangères, d'après les instructions dressées par l'Institut. Publié sous les auspices de m. le ministre de l'intérieur. Paris: Gide et J. Baudry, 1840-41. The book was one of the comprehensive studies of the orient at the time." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 12.5: Iran. Photograph of etching: ? - Palace. Similar to Shrine of Fatimeh at Kum." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Vicinity of Tehran (Iran): Barut-Khana or gunpowder factory/reservoir [graphic]
FSA A.4 2.12.GN.12.06
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 12."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"According to the text under the image the photo is from a lithograph depicting a gunpowder factory/reservoir or Barut-Khana in the outskirts of Tehran. The lithograph was published in Flandin, Eugène, and Pascal Coste. Voyage en Perse de mm. Eugène Flandin, peintre, et Pascal Coste, architecte, entrepris par ordre de m. le ministre des affaires étrangères, d'après les instructions dressées par l'Institut. Publié sous les auspices de m. le ministre de l'intérieur. Paris: Gide et J. Baudry, 1840-41. The book was one of the comprehensive studies of the orient at the time." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 12.6: Iran. Photograph of etching: ? - Kasr-i Kajar." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Old Dawlat Gate and City Walls [graphic]
FSA A.4 2.12.GN.12.07
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 12."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The photo is from a lithograph depicting the old Darcaza Dawlat or Dawlat gate and city walls of Tehran. The lithograph was published in Flandin, Eugène, and Pascal Coste. Voyage en Perse de mm. Eugène Flandin, peintre, et Pascal Coste, architecte, entrepris par ordre de m. le ministre des affaires étrangères, d'après les instructions dressées par l'Institut. Publié sous les auspices de m. le ministre de l'intérieur. Paris: Gide et J. Baudry, 1840-41. The book was one of the comprehensive studies of the orient at the time." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "the glass negative is broken."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 12.7: Iran. Photograph of etching: ? - Kasr-i Kajar. (Cracked)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Palace Complex of Qasri-Qajar (Qasr-e-Qajar) [graphic]
FSA A.4 2.12.GN.12.08
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 12."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The title of the image identifies the structure as Qasr-i Qajar in the outskirts of Tehran. The palace was built during Fath Ali Shah's reign on elevated grounds of outside Tehran. The palace was mainly used as the spring residence of Fath Ali Shah. The lithograph was published in Flandin, Eugène, and Pascal Coste. Voyage en Perse de mm. Eugène Flandin, peintre, et Pascal Coste, architecte, entrepris par ordre de m. le ministre des affaires étrangères, d'après les instructions dressées par l'Institut. Publié sous les auspices de m. le ministre de l'intérieur. Paris: Gide et J. Baudry, 1840-41. The book was one of the comprehensive studies of the orient at the time." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "Kasr-i Kajār." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 12.8: Iran. Photograph of etching: ? - Kasr-i Kajar." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Persian Musicians [graphic]
FSA A.4 2.12.GN.12.09
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 12."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The photo is from a lithograph depicting - according to the text under the image - a group of 'Persian musicians.' The musical instruments in the image are (from right to left) Kamancha, Daf and two Tunbaks (one in the nad of the man and the other lying on the ground beside him), the three of the most commonly known local - or transnational - musical instruments. The man depicted in the middle seems to be singing while playing the Daf. The lithograph was published in Flandin, Eugène, and Pascal Coste. Voyage en Perse de mm. Eugène Flandin, peintre, et Pascal Coste, architecte, entrepris par ordre de m. le ministre des affaires étrangères, d'après les instructions dressées par l'Institut. Publié sous les auspices de m. le ministre de l'intérieur. Paris: Gide et J. Baudry, 1840-41. The book was one of the comprehensive studies of the orient at the time." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 12.9: Iran. Photograph of etching: Court musicians." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Seated Woman with a Lyre, inside a Harem [graphic]
FSA A.4 2.12.GN.12.10
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 12."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 12.10: Iran. Photograph of etching: Court musicians." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Seated Woman inside a Harem [graphic]
FSA A.4 2.12.GN.12.11
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 12."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 12.11: Iran. Photograph of etching: Girl." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Group of Men Eating Food in a Room [graphic]
FSA A.4 2.12.GN.12.12
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 12."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 12.12: Iran. Photograph of etching: Meal at court." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Shimiran (Iran): Nasir Al-Din Shah at Abshar-i Shimiran (Shimiran's Waterfall) [graphic]
FSA A.4 2.12.GN.13.01
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 13."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The photo depicts Nasir al-Din Shah standing in the mountainous region of Shimiran, north of Tehran. The Shimiran waterfall was one of the favorite leisure destinations of the Qajar king close to the city of Tehran. Nasir al-Din Shah's velvet covered short seat is at his foot and four of his attendants are in the background of the image. While the king looks away from the camera into the distance the attendants engage the gaze of the camera and the viewer. The photo must have been taken in the later years of Nasir al-Din Shah's reign." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "333) Nasr Din Shah at Abshar-Shimran. [Marked with unidentified seal]." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 13.333: Nasr u Din Shah. At Abshar, Shimran." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Province of Gilan (Iran): Park Area at Port of Bandar Anzali [graphic]
FSA A.4 2.12.GN.13.02
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 13."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The photos depict the official buildins of Bandar-I Anzali (also called Bandar-I Pahlavi) or Anzali port. The port of Anzali on the south edge of the Caspian sea and to the north of Tehran was renamed to Pahlavi in 1934. As such the photo mush have been taken after the death of Antoine Sevruguin and by someone associated with his studio." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 13.(?): Garden by river." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Kakh-i Sahibqaraniyya (Sahibqaraniyya palace complex): Nasir Al-Din Shah Receiving Report [graphic]
FSA A.4 2.12.GN.13.03
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 13."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Kakh-i Sahibqaraniyya (Sahibqaraniyya palace complex) was built on the orders of Nasir al-Din Shah Qajar and by Yahya Khan-i Mushir al-Dawla in 1879. The complex was located in the then village of Niavaran, which is in the northeast side of the current city of Tehran. The 1879 construction of the palace added to and expanded the small palace complex which was built on the site during Fath Ali Shah's reign and maintained during Mohammad Shah's time after his father. Nasir al-Din Shah expanded the original plan to build one of th emost elaborate summer residences of both Qajar and Pahlavi kings in the next 70 years. The palace has since gone through multiple and extensive rounds of renovations and expansions. The photo depicts the king in the main room of the palace while he is listening to a report read to him by Mohammad Baqir Khan-I Adib al-Mamalik, the scribe and reader to the king. Mohammad Baqir Khan published Iran's first newspaper, called Khulasa al-Havadith." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "1191."
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The negative is brown all over. There is a spreading stain on the lower right edge."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "332) Nasri Din Shah, Firman. [Marked with unidentified seal}." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 13.332: Nasr u Din Shah. Firman." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran), Shimiran, Pul-i Rumi [graphic]
FSA A.4 2.12.GN.13.04
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 13."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "164) Pol-i Rumi-Shimran." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 13.164: Tehran. Shimran. Pol-i Rumi." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Maydan-I Tupkhana (Square of Canons), Baladiyya (City Hall or Municipality) [graphic]
FSA A.4 2.12.GN.13.05
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 13."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The first legal definition of the responsibilities of the city hall was approved by the congress in 1907 and the construction of the new building of Baladuiyya started around the same time. The complex was later destroyed by Riza Shah to make room for the expansion of the square of Canons." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "165) Municipality-Teheran." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 13.165: Tehran. municipal building." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Soldier and Four Individuals Seated in front of a Waterfall [graphic]
FSA A.4 2.12.GN.13.06
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 13."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "166) Waterfall-Shimran." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 13.166: Shimran. Waterfall." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
View towards North, Mount Damavand of the Alborz Range [graphic]
FSA A.4 2.12.GN.13.07
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 13."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Faded handwritten number (inked, probably by Antoin Sevruguin) reads, "1015."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "437) Damawand." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 13.437: Damawand." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Sven Hedin, Konung Oscars Beskickning Till Schahen af Persien, Stockholm: Samson & Wallin: 1890, p:366
Two Seated Women [graphic]
FSA A.4 2.12.GN.13.08
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 13."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Two women are seated on the either sides of a Kursi, the heated low table. While the figure on the right looks away from the camera, the one on the left engages the gaze of the viewer and the lens. Both women have faint traces of smiles, adding to the intimacy of the scene, which is unlike the studio settings of harem women in Sevruguin's collection." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "438) Under a kursi." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 13.438: Two women under a kursi." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Albumen print numbered FSA A2011.03 A.24b; available in Stephen Arpee Collection of Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Entrance to Bagh-i Milli from Sipah Avenue [graphic]
FSA A.4 2.12.GN.13.09
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 13."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The sign on the wall reads Maydan-i Sipah. The uniform of the guard and the soldier in the mid-ground of the image suggests early Pahlavi period." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "442) Khiabani Arc." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 13.442: ? . Khiabani Arch." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Kakh-i Gulistan (Gulistan Palace): Wedding Ceremony of Aziz al-Sultan (Malijak-i Duvvom) and Akhtar al-Dawla, Nasir Al-Din Shah's Daughter [graphic]
FSA A.4 2.12.GN.13.10
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 13."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The photograph is of a group of guests - religious figures - attending the wedding ceremony of Akhtar al-Dawla- Nasir al-Din Shah's daughter - and Aziz al-Sultan. Aziz al-Sultan is 16 on the occasion of the his wedding. The ceremony was amongst the most elaborate and expensive weddings of the time. The photo is taken from inside the Baharistan complex also called Imarat-i Muayyir al Mulk. The same building later houses the newly established national assembly of Iran. Dishes of pastry fill the glass tables in front of the guests who are - as per the common practice of the time - sitting in a row on the carpet. The photographer has managed to capture the attention of almost all the guests who directly engage the gaze of the camera." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "1134."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "440) Mullahs about to eat." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 13.440: Mullahs about to eat." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Iraj Afshar, Ganjina'i Akshay-i Iran, 1984, p:224
Ta'ziya Performance [graphic]
FSA A.4 2.12.GN.14.01
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 14."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 14.1: Inside a tent." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Masjid-i Sipahsalar (Sipahsalar Mosque): Shops in Courtyard [graphic]
FSA A.4 2.12.GN.14.02
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 14."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The Madrasa/mosque complex was built in 1866 on the orders of Mirza Mohammad Khan (Sipahsalar) (d.1867), Nasir al-Din shah's minister of the army and later chief minister. The complex includes also a library, bath, and hospital. The view is from atop the walls of the Mosque's courtyards showing the shops (Fabric sellers)." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 14.2: Celebration at a mosque." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Jean-Baptiste Feuvrier, Trois Ans a la Cour de Perse, Paris: F. Juven, 1900, p:193
Three Men and a Stag [graphic]
FSA A.4 2.12.GN.14.03
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 14."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The man on the right side seems to be carrying a piece of melon, feeding the stag." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 14.3: an ass(?)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
View of Zagros Mountains [graphic]
FSA A.4 2.12.GN.14.04
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 14."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "A piece of paper is stuck all through the sky to make it appear a consistent white."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 14.4: View of (town) a hill behind it." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Rural View: Woman and Boy at Spring [graphic]
FSA A.4 2.12.GN.14.05
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 14."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The boy seems to mimic the gesture of the photographer." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 14.5: Yard." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Falcon on Stand [graphic]
FSA A.4 2.12.GN.14.06
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 14."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The boy seems to mimic the gesture of the photographer." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "973."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1072."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 14.6: Falcon." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tree Lined Street with Carriages [graphic]
FSA A.4 2.12.GN.14.07
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 14."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The boy seems to mimic the gesture of the photographer." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "977."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 14.7: Gardens." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
North of Tehran (Iran): Shimiran, Imamzadeh Qasim Shrine [graphic]
FSA A.4 2.12.GN.14.08
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 14."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Based on the earliest inscriptions found in the building of Imamzada Qasim, the building is dated to mid 16th century. However, like many other religious structures of Tehran and its surrounding area, it has gone through various stages of restoration, expansion and reconstruction through the years, in particular through the reigns of Faht Ali Shah Qajar and Nasir al-Din Shah Qajar, amongst which are the addition of the three iwans of the southern sides. The image depicts the shrine in the background of the image and from the lower grounds of the southeast side. The dome of the shrine is visible in the upper left side of the background of the image, identified by the pattern of its tilework. An unidentified young man is standing in the mid ground of the image, holding a cigarette in hand and seemingly playing with a small dog in front of. His attire suggests that the image was taken in the early Pahlavi era." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "The sky is reddened all the way down to the tree branches."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 14.8: Gardens." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Sayyid Muhammad Taqi Mustafavi, Asar-I Tarikh-I Tehran: Amakin-I Mutibarraka, Tehran: Anjuman-I Asar-I Milli, 1982, p:228-233
Bridge and Retaining Wall Made of rocks [graphic]
FSA A.4 2.12.GN.14.09
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 14."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The boy seems to mimic the gesture of the photographer." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 14.9: Gardens and bridge." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Nasir Al-Din Shah (under umbrella on black horse) with his Cavalry, on Expedition to Lar [graphic]
FSA A.4 2.12.GN.14.10
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 14."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Nasir al-Din Shah is depicted in almost the centre of the image on horseback and under the umbrella. On the white horse on the king's right side Aziza al-Sultan can be seen on horseback. The king and his entourage are probably on their way to Dasht-I Lar, one of the usual hunting spots of Nasir al-Din Shah." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "The sky is reddened all the way down to the mountain range."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 14.10: People." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Royal Encampment [graphic]
FSA A.4 2.12.GN.14.11
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 14."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The black tent on the right side of the mid-ground seems to be the royal tent." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "234) Camp." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 14.11: Camp ground." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Large Crowd of Spectators at Annual Horse Race [graphic]
FSA A.4 2.12.GN.14.12
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 14."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "1233."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 14.12: Camp ground." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Townscape [graphic]
FSA A.4 2.12.GN.15.01
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 15."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "1907."
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "the glass negative is broken."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 15.1: City." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Kakh-i Gulistan (Gulistan Palace), Front Courtyard of the Palace: Possibly Part of Nowruz Festivities [graphic]
FSA A.4 2.12.GN.15.02
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 15."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"During the reigns of the first four kings of Qajar dynasty, what is now known as the Salam ceremony had gradually gained a special ceremonial function and was conducted with considerable care and through strict observance of specific rituals. During the ceremony the courtiers, military officials, European officials accompanied, in some cases and in the earlier days of Fath Ali Shah's reign, by the general population would attend the ceremony and paid their respects - or in this case their Nowruz greetings- to the residing Qajar King. The placement of everything from the king's hooka and small seating place on the throne to the arrangement of the different official and military groups in the garden were predetermined and following the traditions set in the earlier days of Qajar dynasty. The photo depicts a close up of part of the Salam ceremony in which the court and military officials would approach the throne's balcony and pay their respects to the king. The two figures at the back of the image and in front of the tree are Kamran Mirza - Nasir al-Din Shah's son- and Aziz al-Sultan. The figure in the foregournd - identified as Nizam al-Mulk (b.1830-d.1889) - blocks the view to the event in the background of the image which has captured the attention of Kamran Mirza and a few other attendants on either sides of the scene. The photo is most probably taken during the Salam ceremony, as part of the Nowruz festivities in the palace." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is chipped off on the right and the bottom sides."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 15.2: Military review." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
http://www.niavaranmu.com/Menu1/Description.aspx?id=325
Ghasem Safi, Historical Photographs of Iran: Dignitaries, Spectacles, Architecture and Social Environment, Tehran: Mu'assisa-i Intisharat va Chap-i Danishgah-i Tehran, 1989, p:220
Tehran (Iran): Kakh-i Gulistan (Gulistan Palace): Talar-i Salam or Talar-i Takht (Throne Room) [graphic]
FSA A.4 2.12.GN.15.03
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 15."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Talar-I Takht or Throne room of Gulistan palace housed the famous Peacock throne and was the offical reception room of the palace. The photo is taken from the middle of the room and in the opposite direction of the entrance, facing the throne at the far end. The room is depicted empty with only one attendant whose reflection is visible in the mirror to the left side the throne. The walls and tables on the either sides of the hallway are decorated with paintings and objects that could be the valuable gifts of the visitors to the Qajar court." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is chipped off on the right and the bottom sides."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 15.3: Tehran. Golestan Palace. Throne room." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Royal Encampment in Valley [graphic]
FSA A.4 2.12.GN.15.04
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 15."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The white spots in the background of the image are the tents of the royal camp." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 15.4: Mountains." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Maydan-i Mashq (Shooting Range) [graphic]
FSA A.4 2.12.GN.15.05
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 15."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The image depicts the canons' squad of army in Maydan-i Mashq, possibly in the midst of training. Abdul-Hussayn Farman-farma (b.1858-d. 1939) (minister of war) can be seen on horseback. Abd al-Hussayn Khan was appointed to the ministry of war in 1897 and removed from the position 1898. In 1910, he again became the minister of war and remained in the position for the next 4 years until assuming the position of chief minister in 1915. Maydan-i Mashq in Tehran was constructed during the reign of Fath Ali Shah Qajar and expanded and renovated during Nasir al-Din shah's reign and on the orders of Mirza Mohammad Khan Sipahsalar. The square was noted as the biggest one of its kind in Tehran." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 15.5: Military review." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Studio Portrait: Kurdish Family (?) [graphic]
FSA A.4 2.12.GN.15.06
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 15."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Family portrait in studio. The backdrop of the studio comprise of a drape and a painted scene of railings and curtains. The three seated women, the older one sitting in the middle, are flanked by a young boy standing to their right." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The emulsion is peeling off of the surface of the glass."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "475) Ali Zllahis." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 15.6: Ali Zllahis (#435) (peeling)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): British Embassy: View from Inside the Garden [graphic]
FSA A.4 2.12.GN.15.07
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 15."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The British embassy in Tehran was constructed by a British architect called James Wild on a piece of land acquired by the British government in 1860. The construction of the building lasted for almost sixteen years, the bulk of which was constructed from 1871 to 1876. The dome of the building - visible in the background of the image - along with some of the large glass windows, were imported from United Kingdom, the transport of which posed unforeseen problems for the completion of the building. The photograph is taken from inside the embassy's garden (south), depicting a child on horseback with an attendant. The photograph was turned into a postcard at approximately the same time." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 15.7: Palace. side view. (cracked)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Ghasem Safi, Kart-Pustalha-i Tarikh-i Iran, Mu'assesa-i Farhangi-i Gustarish-i Hunar: 1989, p:103 (the photograph is published as postcard)
Townscape [graphic]
FSA A.4 2.12.GN.15.08
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 15."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "986."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "222."
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The sky is layered with paper. It is chipped off on the top left edge. The negative is browned all over."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 15.8: View of city." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Kakh-i Gulistan (Gulistan Palace), Talar-i Salam or Talar-i Takht (Throne Room) [graphic]
FSA A.4 2.12.GN.15.09
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 15."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Takht-i Tavoos (Peacock Throne) is a later name of Takht-i Khurshid or the Sun Throne. Erroneously the name of the Throne as the peacock throne equated it with the famous Indian throne of Shah Jahan and Nadir's war booty from India, whereas Takht-i Khurshid - visible in this image - was ordered by Fath Ali Shah Qajar around 1800s and built by an Isfahani artist known as Haji Muhammad Hussayn Khan Sadr. The name of the throne changed to Takht-i Tavoos or the Peacock Throne after Fath Ali Shah's marriage to Tavoos Khanum, his favorite wife. The marriage was celebrated on this particular throne. In the occasion of various royal celebrations - such as Salam-i Nawruzi - the throne would be moved out of the palace and into the Iwan-i Dar al-Imara (later known as the hall of Takht-i Marmar or the marble throne) and would be the seating place of the Qajar kings of the time. Takht-i Tavoos or Peacock Throne, along with a bust of Nasir Al-Din Shah are the focal points of the photograph. In the left corner of the image, a partial silhouette of the photographer is reflected in the mirror behind the Throne. The sideview of the Throne allows for the details of metalwork on the round mirror at the far back of the throne to be visible." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "943."
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is chipped off on the right and the bottom sides."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 15.9: Tehran. Golestan Palace. Throne room (broken)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Yahya Zoka and Mohammad Hassan Semsar, Tehran Dar Tasvir, Tehran: Sazman-i Miras-i Farhangi-i Kishvar, 1997, p:155-161
Men at a Campsite [graphic]
FSA A.4 2.12.GN.15.10
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 15."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The structure in the background is, most probably, a caravanserai." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "473."
- Faded handwritten number (inked, probably by Antoin Sevruguin) reads, "1232."
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glasses chipped off at the top and left edge."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 15.10: Camp (?)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Naqsh-i Rustam (Iran): Sasanian Relief Showing the Investiture of Ardashir I by the God Ahura Mazda (Hormizd) [graphic]
FSA A.4 2.12.GN.15.11
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 15."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The relief is the first one from the left in the site, marking the precedence of the Sassanian dynasty. The photograph is most probably taken in the mid-day sun as the deep shadows under the horses - particularly that of the king - give volume to the relief." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "1183."
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is broken."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 15.11: Sassanian relief." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.6 04.27.058; available in Ernst Herzfeld papers, 1899-1962.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Qazvin (Iran): Imamzada Hussayn Mosque (Shahzade Hossein Tomb Complex) [graphic]
FSA A.4 2.12.GN.15.12
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 15."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Based on the different inscriptions in the building, the earliest part of the structure can be dated to early 15th century. The building however has extensive renovations from Safavid and Qajar period. The visible inscriptions in the photo dates to 1307 (1890), therefore the photograph must have been taken after this date. The inscription bears the name and signature of the artist, as welll as Nasir al-Din Shah's praises." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "1267."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1264."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 15.12: Kazvim. mosque of Shah Sultan Hussein. Entrance (sent to Prof. Varjavand, U. of Tehran)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Building and View of the Alborz Mountains [graphic]
FSA A.4 2.12.GN.16.01
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 16."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 16.1: Landscape." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Province of Gilan (Iran): Park and Buildings at Port of Bandar Anzali [graphic]
FSA A.4 2.12.GN.16.02
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 16."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The image is part of a series of photos from the port and its new constructions. The photos depict the official buildins of Bandar-I Anzali (also called Bandar-I Pahlavi) or Anzali port. One of the images in the series shows one of the buildings with a sing on top that reads: "[...] Nazmiyya - Bandar-i Pahlavi". the port of Anzali on the south edge of the Caspian sea and to the north of Tehran was renamed to Pahlavi in 1934. As such the photo mush have been taken after the death of Antione Sevruguin and by someone associated with his studio." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is broken and missing the left lower corner."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 16.2: View of Town." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Royal Encampment near Stream [graphic]
FSA A.4 2.12.GN.16.03
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 16."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "966."
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "Small area on top of the mountain range is painted over with black ink."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 16.3: Camp." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Men at a Campsite [graphic]
FSA A.4 2.12.GN.16.04
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 16."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "476."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 16.4: Camp." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Landscape View from a Building's Porch [graphic]
FSA A.4 2.12.GN.16.05
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 16."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 16.5: Outside a town." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Maydan-i Mashq (Shooting Square) [graphic]
FSA A.4 2.12.GN.16.06
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 16."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The photo is of Cossack Brigade in Maydan-i Mashq (view towards east). The headquarters of the Cossack Brigade was located in this Maydan. The cossack brigade was established in 1879, modelled after the Russian Cossack formations. The brigade remained under the rule of Russian officers well after the Russian revolution of 1917, with its first Iranian commander being Riza Khan (1920). The brigade - initially comprised of only 400 men and later expanded to accomodate the service of around 8000 -became increasingly identified with the royal police force, standing on the side of Qajar king of the time, Mohammad Ali Shah, during the constitutional revolution of 1908. The photo depicts the brigade in Tehran's Maydan-i Mashq. Maydan-i Mashq in Tehran was constructed during the reign of Fath Ali Shah Qajar and expanded and renovated during Nasir al-Din shah's reign and on the orders of Mirza Mohammad Khan Sipahsalar. The square was noted as the biggest one of its kind in Tehran." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 16.6: Military review (?)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Muzaffar Al-Din Shah in Maydan-i Mashq [graphic]
FSA A.4 2.12.GN.16.07
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 16."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The image depicts Muzaffar al-Din Shah Qajar (b.1853-d.1906) on horseback and amongst a group of court attendants in Maydan-i Mashq. Maydan-i Mashq in Tehran was constructed during the reign of Fath Ali Shah Qajar and expanded and renovated during Nasir al-Din shah's reign and on the orders of Mirza Mohammad Khan Sipahsalar. The square was noted as the biggest one of its kind in Tehran." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "1149."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "650."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "Nasr ed Din + Court." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 16.7: Nasr ud Din and court." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Men Before Banquet Table [graphic]
FSA A.4 2.12.GN.16.08
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 16."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "1029."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "Nasr ed Din + Court." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 16.8: Nasr ud Din and court." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Procession of Men in Garden [graphic]
FSA A.4 2.12.GN.16.09
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 16."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Procession of men in garden. The two figures towards the end of the group, looking directly at the camera are identified as Akbar Khan Nayib-i Nazir and Majd al-Dawla. Mahdi Bamdad identifies this image as a normal procession of men carrying Nasir Al-Din Shah's food to the court. He explains the matter as such: "'The food was carried to the presence of the king accompanied by Khansalar and Nayib-i Nazir, in sealed packages. The seal would only be broken in front of the king to ensure that there was no poison added to it on the way.' The procession however looks more like a wedding dowry procession. Considering that a few other images in the set are also from the settings and preparations for a feast, it would be not be too far fetched to assume the later expalanation to be correct as well." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
"The two figures towards the end of the group, looking directly at the camera are identified as Akbar Khan Nayib-i Nazir and Majd al-Dawla." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "Nasr ed Din + Court." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 16.9: Nasr ud Din and court." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Mahdi Bamdad, Sharh-i Hal-i Rijal-i Iran dar Qarn-i 12,13,14 Hijri, Tehran: Intisharat-i Zavvar (Zavvar Publishing): 1992, Vol. 4, p:183
Qum (Iran): Hazrat-i Ma'suma Shrine Complex: View of the Mirror Iwan [graphic]
FSA A.4 2.12.GN.17.01
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 17."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The initial construction on the site of the holy shrine - with an octoganal plan - in Qum dates back to 13th century. In addition to northward expansion of the whole complex, the original octagonal dome was also modified into a round structure in the earlier years of Safavid dynasty. The southwest corner of the structure houses the tombs of more than a few of Safavid kings, including Shah Sultan Hussayn and Shah Safi. In the 1880s, the new courtyard to the shrine was ordered by Amin al-Sultan, during which the two grand minarets of the western iwan and the two smaller minarets of the entrance were also added to the complex. The golden dome is dated back to Fath Ali Shah-I Qajar, which is consistent with the other restorations to religious buildings of the time. The photographer depicts the western iwan of the shrine which represents the most recent additions and embelishemnts of the time. The image is therefore taken after the Nasiri additions to the structure." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "1036."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "489) Abdul Azim." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 17.1: Tehran. Abdul Azim (#489)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.4 2.12.Sm.57; available in Myron Bement Smith Collection, ca. 1910-1970.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Sayyid Mohammad Taqi Motafavi, Asar-I Tarikhi-I Tehran: Amakin-I Mutibarraka, Tehran: Anjuman-I Asar-I Milli, 1982, p:423-425
Nasir Al-Din Shah Supervising a Banquet for Ashpazan [graphic]
FSA A.4 2.12.GN.17.02
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 17."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Depicted most probably in one of his short trips outside the city of Tehran, Nasir al-Din Shah is sitting in the far end of the image, looking directly at the camera. Aziz al-Sultan is standing on the right side of the king and Aziz Khan-I Khaja is the taller figure at the edge of the tent on the left side of the king and the right side of the image. The courtiers and cooks of the palace, in the company of the king in such trips are shown preparing for a meal. In front of the row of kitchen staff, trays of ingrediates are laid out in two rows, with small cups into each, probably used for measuring the ingrediants before taking them to the cooking stations, outside the tent." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 17.2: Shah in tent." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Maydan-i Tupkhana (Canons Square): Bank-i Shahanshahi-i Iran (Imperial Bank of Persia) [graphic]
FSA A.4 2.12.GN.17.03
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 17."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The bank was established as a result of Iran's agreement with Julius De Reuter in 1889. The building in this picture was replaced by the new structure in Square of Canons in 1889. Though the bank operated inside Iran, it was under the British rules and regulations. Until 1894, the bank was the sole authority for publishing money notes in Iran." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "Two thin lines on the bottom and the right side of the negative. The two sides are intentionally broken."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 17.3: Contemporary station (?)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Maydan-i Sipah or Maydan-I Tupkhana, Nazmiyya Building [graphic]
FSA A.4 2.12.GN.17.04
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 17."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The photo depicts the building of Nazmiyya (Police headquarters) in Maydan-I Sipah or Maydan-I Tupkhana in its background. The new structure of police headquarter was built around 1880, a few years after Antoine de Montfort - along with a delegation of 14 other austrian officers - arrived in Iran with the mission to establish the new police force in Iran. The photo however is taken at least a few decades after the above mentioend date, as a car can be seen in the background of the image passing the street. The first cars arrived in Iran after 1900 and within the next ten to fifteen years they became a relatively common sight in Tehran. The model of the car also points to the 1920s." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "Two thin lines on the bottom and the right side of the negative. The two sides are intentionally broken."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 17.4: Bldgs." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Darvaza-i Khurasan (Khurasan Gate) [graphic]
FSA A.4 2.12.GN.17.05
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 17."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The gate pictured here might also be Darvaza-i Rah-Ahan (Gate of the Train). The photo should have been taken on the earlier days of railway construction betwen Tehran and Shah Abdul 'Azim by a Belgian engineer, M. Buvatal. The first line was constructed between Khurasan gate and Shah Abd al-'Azim gate in 1882. The steam coming out of the train was the reason behind the local naming of the train as Mashin Doodi (Smoking Machine)." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "1031."
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "Three small brown spots in the centre and to the left side of the negative."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 17.5: Train." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
http://www.rai.ir/Site.aspx?ParTree=A0100010
Michael Myers Shoemaker, The Heart of the Orient, New York: The Knickerbockers Press, 1904, p:161
Tehran (Iran): Kakh-i Gulistan (Gulistan Palace), Talar-i Salam or Talar-i Takht (Throne Room) [graphic]
FSA A.4 2.12.GN.17.06
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 17."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Talar-I Takht or Throne room of Gulistan palace housed the famous Peacock throne and was the offical reception room of the palace. Located on the northwest side of the complex, the room was initially designed as a museum but was later known for its primary use as the official reception room of the palace. The construction of the new complex and the throne room staretd in 1874 and concluded two years later in 1876. It was then decorated with the extensive collection of foreign gifts and local/Iranian artefacts of the palace. The room is currently used as a museum as well. The photo depicts the room empty of the crowd, with only two attendants of the court standing in the row of the chairs on the side of the room, looking back at the camera. The photographer's camera is placed mid-lenghth of the room, looking away from the placement of the throne to the other side of the room." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 17.6: Tehran. Golestan Palace. Throne room." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Street Scene [graphic]
FSA A.4 2.12.GN.17.07
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 17."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "978."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 17.7: Street scene." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Kakh-i Gulistan (Gulistan Palace): View from the Garden [graphic]
FSA A.4 2.12.GN.17.08
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 17."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The structure seen in the image was an addition to the already existing Bagh-I Gulistan (Gulistan garden) the construction of which concluded in 1876. Since then the building was used both as the official reception room of the palace and as a museum of local and international artworks. Takht-i Tavoos was also located inside the main hallway of this building. The building, located on the northwest side of the garden, is currently a museum. The photograph depicts the front shallow pool and the entrance of the structure. The windows are shown covered with painted fabrics on both top and lower floors of the building. In order to achieve the specific framing of both the pool and the entrance gate, the photographer's tripod would have been located on a narrow bridge over the waterway in front of the gate, immediately beyond th elower edge of the image. Photos and paintings of the structure were frequently published in journals and books from 1885 onwards. a close comparison of the images from 1885 to 1890s with the ones publihsed after 1904 shows the addition of the lamp-posts in the shape of standing human figures, seen in this image." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Faded handwritten number (inked, probably by Antoin Sevruguin) reads, "1230."
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "Lost emulsion on the sides."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "488) Imperial Bank of Persia." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 17.8: Tehran. Imperial Bank of Persia (?) (#488)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Yahya Zoka and Mohammad Hassan Semsar, Tehran Dar Tasvir, Tehran: Sazman-i Miras-i Farhangi-i Kishvar, 1997, Vol.2, p:165-199
Interior of Minai Bowl [graphic]
FSA A.4 2.12.GN.17.09
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 17."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The negative has two sets of imprints. The one that is seemingly underneath is of two women and a baby and a girl. On top of that imprint, the bowl sits the imprint underneath is still quite visible in through the bottom of the bowl and the two sides."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 17.9: (P) [black-and-white print on hand]. Pottery." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Townscape [graphic]
FSA A.4 2.12.GN.18.01
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 18."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "A piece of paper is stuck to the emulsion side to cover the sky. The area between the paper and the mountain range is colored with red ink."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 18.1: View of City." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Studio Portrait: Western Woman Posed in Chador [graphic]
FSA A.4 2.12.GN.18.02
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 18."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "A layer of varnish covers the face and the hand of the woman."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "476) Woman with chadur pitchah." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 18.2: Woman with chadur pitchah (#476)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Imarat-i Atabak (Atabak's Palace): View to the Inner Court [graphic]
FSA A.4 2.12.GN.18.03
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 18."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The park and palace of Atabak was built between 1886 and 1888 on the orders of Mirza Ali Asghar Khan, The second Amin al-Sultan and the chief minister of Nasir al-Din Shah. After Amin al-Sultan's assassination in 1907, the complex, which was a debt collateral with Russian Bank for discounted loans to Amin al-Sultan, was repossessed by the bank and used as the Russian Embassy. The building was destroyed in fire in 1922. Originally only a one storey building, Imarat-i Atabak was renovated around 1900 (based on the earliest published account) to add a second storey to the building. The photo must have been taken after this addition." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The negative seems to have been broken in almost half."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 18.3: Palace (?)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Yahya Zoka and Mohammad Hassan Semsar, Tehran Dar Tasvir, Tehran: Sazman-i Miras-i Farhangi-i Kishvar, 1997, Vol.2, p:325-337
Shahristanak (Iran): Imarat-i Shahristanak, Nasir Al-Din Shah's Royal Summer Compound [graphic]
FSA A.4 2.12.GN.18.04
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 18."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The palace complex of Shahristanak was built in 1877-1878 on the orders of Nasir al-Din Shah Qajar as a summer palace for the court. The architect of the complex was Haji Abulhassan Mi'mar Bashi. The palace was built on route from Tehran to Caspian Sea and the city of Chalus and on the north side of Alborz mountains. It was primarily used as a getaway from the capital by the royal court. The exterior and the plan resemble those of Sahibqaraniyya Palace in northern Tehran. The elevate position of the photographer in this image allows for a bird's eye view of the structure in its entirety, showcasing its plan and the arrangment of the palace's different sections such as Andaruni and Divan-Khana." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "1218."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 18.4: Mountain fortress." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Yahya Zoka and Mohammad Hassan Semsar, Tehran Dar Tasvir, Tehran: Sazman-i Miras-i Farhangi-i Kishvar, 1997, Vol.2, p:431
Studio Portrait: Seated Man [graphic]
FSA A.4 2.12.GN.18.05
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 18."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 18.5: Man." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Group Portrait: Hospital Staff and Patients [graphic]
FSA A.4 2.12.GN.18.06
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 18."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 18.6: Family." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Province of Gilan (Iran): House and Formal Garden at Port of Bandar Anzali [graphic]
FSA A.4 2.12.GN.18.07
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 18."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The image is part of a series of photos from the port and its new constructions. The photos depict the official buildins of Bandar-I Anzali (also called Bandar-I Pahlavi) or Anzali port. One of the images in the series shows one of the buildings with a sing on top that reads: "[...] Nazmiyya - Bandar-i Pahlavi". the port of Anzali on the south edge of the Caspian sea and to the north of Tehran was renamed to Pahlavi in 1934. As such the photo mush have been taken after the death of Antione Sevruguin and by someone associated with his studio. The image shows a building much older than the other buildings of the same site, most probably dated back to late 19th century. However, the lamp post on the far left side of the image is identical to the ones in the other images of the series." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 18.7: Building." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Khiaban-i Ala al-Dawla (Firdawsi Avenue) [graphic]
FSA A.4 2.12.GN.18.08
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 18."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The name of the street was changed to Firdausi Avenue in 1933 and upon the conclusion of the Millennia of Firdausi ceremonies in Mashhad. Antoin Sevruguin's studio was also located in this street, along with the British consulate. The wall in the image might be the outer walls of the British Consulate. The photo seems to have been taken before the bombing of Sevruguin's neighbour during the events of the constitutional revolution of 1908." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "Thin lines on all four sides, probably where he wanted to cut the glass. The edges are all rough."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "484) Khiabani A'la i Dowleh." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 18.8: Khiabani A'lai Dowleh (#484)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Nasir Al-Din Shah and Court [graphic]
FSA A.4 2.12.GN.19.01
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 19."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The image has a very specific date and description attributed to it in Mahdi Bamdad's book. The following is a summary of the description: In Ramadan of 1307 (May of 1890) the 57,000 tooman owed to the treasury is returned. Aqa Dali is cooking the beans and on the right Mirza Ali Akbar (Bamdad, vol.5, p:159-160) has received the bags of money to send to treasury. The figures are identified as: From Right to left: Mirza Muhammad Malijak Amin Khan, General, Amin Huzur, I'timad al-Harem Khaja-Bashi, Aqa Da'i, Aqa Da'i's son, Aqa Da'i's brother, Rika, Nasir Al-Din Shah, Aqa Muhammad Saray-dar, Mirza Sayyid Ali (Mirza Ali Akbar's son). The figure sitting beside the bags of money is Mirza Ali Akbar." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Faded handwritten number (inked, probably by Antoin Sevruguin) reads, "1083."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "Nasr ed Din Shah + Court." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 19.1: Nasr ud Din Shah and court." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Dushan Teppe (Iran): Frontal View of the Royal Tent: Outdoor Gathering at Horse Racing Event [graphic]
FSA A.4 2.12.GN.19.02
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 19."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The photographer has erased any trace of a figure underneath the tent but from the direction of the attendants' gaze and posture, one can conclude that the king (probably Nasir Al-Din Shah) was sitting in the tent, receiving dignitaries." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Faded handwritten number (inked, probably by Antoin Sevruguin) reads, "1083."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "Nasr ed Din Shah + Court." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 19.2: Nasr ud Din Shah and court." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Royal Encapment in Lar Valley [graphic]
FSA A.4 2.12.GN.50.04
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 50."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "1209."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "338) Abi Garm of Damavand." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 50.4: Tehran. Demavand. Ali Garm (#338)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Wooden Doors with Elaborate Ornamentation [graphic]
FSA A.4 2.12.GN.19.04
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 19."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 19.4: (P) [black-and-white print on hand]. Carved wood doorway." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Townscape [graphic]
FSA A.4 2.12.GN.19.05
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 19."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "The sky has two layers of paint: black underneath and red on top."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 19.5: View of Town." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Studio Portrait: Seated Officer, British Medal near Throat [graphic]
FSA A.4 2.12.GN.19.06
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 19."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "790."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 19.6: Seated officer." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Street Scene [graphic]
FSA A.4 2.12.GN.19.07
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 19."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "Slit touch up around one of the tree tops in the background."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 19.7: Street view." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Street Scene and Post Office [graphic]
FSA A.4 2.12.GN.19.08
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 19."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The buildings are situated at the intersection of Lalah Zar avenue and Maydan-i Sipah." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "Small areas on the mountain range is darkened with black ink."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 19.8: Street view." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
View from Villa, Looking towards Water Fountain [graphic]
FSA A.4 2.12.GN.19.09
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 19."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 19.9: Garden." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Street Scene [graphic]
FSA A.4 2.12.GN.19.10
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 19."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "790."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 19.10: Street view." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Townscape [graphic]
FSA A.4 2.12.GN.19.11
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 19."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "The sky has two layers of paint: black underneath and red on top."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 19.11: Outside Town." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Province of Gilan (Iran): Walkway at Port of Bandar Anzali [graphic]
FSA A.4 2.12.GN.19.12
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 19."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The image is most probably part of a series of photos from the port and its new constructions. The photos depict the official buildins of Bandar-I Anzali (also called Bandar-I Pahlavi) or Anzali port. One of the images in the series shows one of the buildings with a sing on top that reads: "[...] Nazmiyya - Bandar-i Pahlavi". the port of Anzali on the south edge of the Caspian sea and to the north of Tehran was renamed to Pahlavi in 1934. As such the photo mush have been taken after the death of Antione Sevruguin and by someone associated with his studio." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 19.12: Street view." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Dirt Path and Rock wall with Gate Post at Shimiran [graphic]
FSA A.4 2.12.GN.20.01
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 20."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 20 (# 173): Tehran. Shimran. Garden." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Maydan-i Tupkhana (Canons' Square): Northern Wall [graphic]
FSA A.4 2.12.GN.20.02
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 20."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The photo shows the northern wall of the Canons' square or Maydan-i Tupkhana. The new Canons' square and the two storey buildings surrounding it was built between 1867 and 1877 on the north side of the old Canons' square or Maydan-i Arg. The two storey building in the background of the image surrounding the square was initially planned as a reservoir of military equipment and a meeting and living place of military officials. A large and shallow pool, surrounded by trees and greenery and a railing around the whole area was constructed in the middl eof the square. Adjacent to the railing, the canons of the military surrounded the central pool. The photo is taken before the construction of the new city hall in 1921-22 on the same side of the square." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The negative is a dark brown all over."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "964."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "232) Makshmaidan." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 20 (# 232): Naksh-maidan." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Maydan-i Mashq (Shooting Square): Horse and Driver with an Open Carriage [graphic]
FSA A.4 2.12.GN.20.03
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 20."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The carriage is shown in Maydan-I Mashq or shooting range in Tehran. The headgear and clothing of the man indicates that this might have been an official carriage. Maydan-i Mashq in Tehran was constructed during the reign of Fath Ali Shah Qajar and expanded and renovated during Nasir al-Din shah's reign and on the orders of Mirza Mohammad Khan Sipahsalar. The square was noted as the biggest one of its kind in Tehran." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "175) Droshka." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 20 (# 175): Droshka." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Portrait of Haj Ismail Yazdi [graphic]
FSA A.4 2.12.GN.20.04
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 20."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Iraj Afshar records the name of the figure, noting that - contrary to previous explanation - Haj Ismail was ridiculed for his obesity and not being 'the middle sex." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "926."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "236) Middle sex. [Marked with an unidentified seal]." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 20 (# 236): Middle sex!." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Iraj Afshar, Ganjina'i Aksha-i Iran, 1984, p:245
Tehran (Iran): Shimiran Townscape [graphic]
FSA A.4 2.12.GN.20.05
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 20."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "The sky has visible brush marks with red color. There is writing on the top border with "n 5" readable."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "Shimran." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 20 (# 172): Tehran. Shimran. General view." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Landscape with a Large Rock [graphic]
FSA A.4 2.12.GN.20.06
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 20."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "964."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 20 (?): Shimiran." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
North of Tehran (Iran): Bagh-i Firdaws (Garden of Paradise) at Shimiran [graphic]
FSA A.4 2.12.GN.20.07
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 20."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The palace/residence is shown almost in the centre of the background of the scene. The structure can be identified as Bagh-i Firdaws by its very distinct and imposing façade and entrance. The residence was initially built on the site of Muhammad Shah Qajar's Mohamaddiya Palace by Muayyir al-Mamalik. Nasir's chief of finance and treasury, Muayyir al-Mamalik was also the first Iranian who opened an account in the British Royal bank and transferred a large part of his belonging to that account. The house was decorated with sheets of gold and marble and known to the contemporaneous travelers to Iran as one of the most extravagant structures of its time." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "184) Dyzashur." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 20 (# 187): Dyzashur - landscape." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Mahdi Bamdad, Sharh-i Hal-i Rijal-i Iran dar Qarn-i 12,13,14 Hijri, Tehran: Intisharat-i Zavvar (Zavvar Publishing): 1992, Vol.1, p:495-501
Tehran (Iran): Jeanne d'Arc School [graphic]
FSA A.4 2.12.GN.20.08
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 20."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The palace/residence is shown almost in the centre of the background of the scene. The structure can be identified as Bagh-i Firdaws by its very distinct and imposing façade and entrance. The residence was initially built on the site of Muhammad Shah Qajar's Mohamaddiya Palace by Muayyir al-Mamalik. Nasir's chief of finance and treasury, Muayyir al-Mamalik was also the first Iranian who opened an account in the British Royal bank and transferred a large part of his belonging to that account. The house was decorated with sheets of gold and marble and known to the contemporaneous travelers to Iran as one of the most extravagant structures of its time." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "171) Jean d'Arc School." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 20 (# 171): Tehran. Jean d'Arc School." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Portrait of the King of Bukhara [graphic]
FSA A.4 2.12.GN.20.09
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 20."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "The whole area around the figure is covered in black paper that is stuck to the emulsion side of the negative. The image is taken from a book."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "238) King of Bokhara. [Marked with unidentified seal]." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 20 (# 238): King of Bukhara." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
North of Tehran (Iran): Man Seated on a Mountain Top in Shimiran [graphic]
FSA A.4 2.12.GN.20.10
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 20."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "1033."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "501) Mountains of Shimran. [Marked with unidentified seal]." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 20 (# 501): Shimiran. Mountains." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Studio Portrait: Two Wrestlers Taking the Pose [graphic]
FSA A.4 2.12.GN.21.01
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 21."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "There is touch up on the arms and faces of both figures. Brush work is visible on the bodies maybe as a result of putting on varnish."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "415) Wrestlers." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 21.1: Wrestlers (# 415)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Darvaza Dawlat (Dawlat City Gate) [graphic]
FSA A.4 2.12.GN.21.02
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 21."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The structure dates to Nasir Al-Din Shah's time. After the expansion of Tehran, which started in 1867, six gates were added to the city walls of Tehran, one of the most elaborately designed one of which was Darvaza Dawlat. The gate was built in 1871 by Mohammad Rahim Khan 'Ala al-Dawla (Amir Nizam). Located on the north side of the wall, Darvaza Dawlat, along with Shimiran and Yusif Abad Gates, marked the northern boundaries of the city. The view of the gates usually differed from the side facing the city to the side facing the outside. Almost all of the twelve gates of the city were torn down during the later expansion of Tehran in 1930s. The photo is taken on an earlier date compared to 1.5b, which shows the same structure, without the small animal heads attached to the piece on the top of the entrance. The later images of the gate all lack the animal as well." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "The sky is completely covered in red ink with brush marks very visible."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) non readable.
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "441) Darvazeyi Dowlat." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 21.2: Tehran. Darwazeyi Dowlat (# 441)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Semsar & Saraian, Golestan Palace Photo Archive: Catalogue of Qajar Selected Photographs, Tehran: Kitabkhana'i Milli-i Iran, p:445
Ashura Reenactment Procession [graphic]
FSA A.4 2.12.GN.21.03
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 21."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "1156."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 21.3: Horsemen." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Studio Portrait: Seated Persian Girl in Ballet Costume [graphic]
FSA A.4 2.12.GN.21.04
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 21."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The photo depicts one of Sevruguin's female models sitting on a carpet covered short seat. The model reappears in some of the other studio portraits of the artist alongside other male and female models in various clothing and poses. Most of the famous studio portraits of the artist have been produced in the earlier days of his career. The portraits were frequantly published in books and travelogues of the time." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
"The image is a copy print of another, placed on various sheets of paper. One of the papers underneath is a ticket for what seems to be a play." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "416) Persian girl." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 21.4: Persian girl (# 416)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Scene from a Theatrical or Film Performance [graphic]
FSA A.4 2.12.GN.21.05
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 21."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "Brush work visible all around the figures."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "330-331) Pictures of a play." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 21.5: Picture of a play (330-331)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Group Portrait: Women and Children [graphic]
FSA A.4 2.12.GN.21.06
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 21."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "Brushworks visible on the faces of the women and on the central figure's right hand."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "1010."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1788."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "439) Zoroastrian family." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 21.6: Zoroastrian family (# 439)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Studio Portrait: Family (?) [graphic]
FSA A.4 2.12.GN.21.07
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 21."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten information on slip of paper reads, "Note manner of binding midriff of man at left. cf. charioteer, for Greco-Roman bronze." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 21.7: Group of men." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Landscape with Buildings and Mounds [graphic]
FSA A.4 2.12.GN.22.01
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 22."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The sides are rough."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "960."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "657."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 22.1: Landscape." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Marizkhana'I Dawlati (Public Hospital) [graphic]
FSA A.4 2.12.GN.22.02
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 22."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The sign on the building reads: Marizkhana'i Mubaraka-i Dawlati, Darb-i Vorudi (Public Hospital, Entrance). The hospital was built in or around 1873. The guard in front of the door, however, is in Pahlavi-era military attire." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 22.2: Alley." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Cossack Brigade at Maydan-i Mashq (Shooting Square) [graphic]
FSA A.4 2.12.GN.22.03
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 22."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The cossack brigade was established in 1879, modelled after the Russian Cossack formations. The brigade remained under the rule of Russian officers well after the Russian revolution of 1917, with its first Iranian commander being Riza Khan (1920). The brigade - initially comprised of only 400 men and later expanded to accomodate the service of around 8000 -became increasingly identified with the royal police force, standing on the side of Qajar king of the time, Mohammad Ali Shah, during the constitutional revolution of 1908. The photo depicts the brigade in Tehran's Maydan-i Mashq. Maydan-i Mashq in Tehran was constructed during the reign of Fath Ali Shah Qajar and expanded and renovated during Nasir al-Din shah's reign and on the orders of Mirza Mohammad Khan Sipahsalar. The square was noted as the biggest one of its kind in Tehran." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "963."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1285."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 22.3: Parade." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Portrait of the Mirza Nasrullah Khan-i Na'ini (d. 1907), Known as Mushir al-Dawla [graphic]
FSA A.4 2.12.GN.22.04
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 22."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"One of the most influential men of Nasir Al-Din Shah's court, Mushir al-Dawla was appointed as the minister of army in 1897. He was later appointed as the minister of foreign affairs. His two sons, Hassan and Hussayn Pirnia both became prominent politicians of Pahlavi era. Hassan Pirnia was the prime minister of Riza Shah and a long time minister of various departments and Hussayn Pirnia was the chief council of national congress for many years. The portrait was taken not in the photographer's studio but inside a garden. Mushir al-Dawla is sitting on a high chair that back of which is carefully removed in the image, traces of which is visible on the left shoulder of the figure." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "Small touch up on the shoulders of the figure."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 22.4: Man." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Mahdi Bamdad, Sharh-i Hal-i Rijal-i Iran dar Qarn-i 12,13,14 Hijri, Tehran: Intisharat-i Zavvar (Zavvar Publishing): 1992, Vol. 4, p. 351-360
Palace Villa [graphic]
FSA A.4 2.12.GN.22.05
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 22."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass is very thick."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 22.5: Kajar (?) residence." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Scene from a Theatrical or Film Performance [graphic]
FSA A.4 2.12.GN.23.01
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 23."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "A theatrical performance." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 23.1: A theatrical performance." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran), Maydan-I Arg: Zurkhana Wrestlers Warming Up and Large Crowd of Spectators [graphic]
FSA A.4 2.12.GN.23.02
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 23."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Zurkhana wrestlers are depicted warming up to perform in front of the large crowd of spectators (partly visible) and possibly the king and his attendants. The camera's point of view - slightly elevated and above the main platform of performances - places the photographer on the balcony of the palace's entrance and close to the Royal seating place." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "963."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "328) Athletic exhibition." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 23.2: Athlete exhibition (# 328)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Kadkhuda (village Chief) [graphic]
FSA A.4 2.12.GN.23.03
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 23."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "327) Kadkhoda on donkey." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 23.3: Kadkhoda on donkey (# 327)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Group of Men Standing near Motor Car [graphic]
FSA A.4 2.12.GN.23.04
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 23."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 23.4: People." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tree-Lined Avenue Leading to a Gate and Garden [graphic]
FSA A.4 2.12.GN.23.05
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 23."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 23.5: Tree-lined avenue." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Saltanat-Abad Palace Complex: Side View of Abdar-Khana (Kitchen) and Pool [graphic]
FSA A.4 2.12.GN.23.06
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 23."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The construction of the complex of Saltanat-Abad was ordered by Nasir al-Din Shah; it started in 1859 and was finished in 1887. Located in the north eastern part of the present-day Tehran, the palace complex includes different (usually free-standing) buildings such as Hawz-Khana (fountain room), Khab-gah (bedroom), Haram-Khana (harem) and Abdar-Khana (kitchen). Hawz-Khana of the palace complex is famous for its exquisite tile work. One of the main features of the palace building is that Saltana-Abad palace has unobstructed view on all four sides. The interior of Hawz-Khana is the subject of one of Kamal al-Molk's paintings." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "1127."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 23.6: Garden and pools." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Yahya Zoka and Mohammad Hassan Semsar, Tehran Dar Tasvir, Tehran: Sazman-i Miras-i Farhangi-i Kishvar, 1997, vol.1, p:281-295
Tehran (Iran): Darvaza-i Maydan-i Tupkhana or the old Darvaza Dawlat (Square of Canons' Gate): Military Procession [graphic]
FSA A.4 2.12.GN.23.07
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 23."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The new Canons' square and the two storey buildings surrounding it was built between 1867 and 1877 on the north side of the old Canons' square or Maydan-i Arg. The two storey building surrounding the square was initially planned as a reservoir of military equipment and a meeting and living place of military officials. A large and shallow pool, surrounded by trees and greenery and a railing around thethe pool area were constructed in the middle of the square. Adjacent to the railing, the canons of the military surrounded the central pool. The image shows the entrance gate to the square. This Dawlat gate connected the two main squares or Maydan of the city to each other: Maydan-i Tupkhana and Maydan-i Arg. It was built in 1871 along with the construction of the Almasiyya street by Mohammad Rahim Khan 'Ala al-Dawla (Amir Nizam). The size of the gate made it the earliest attempt at such large scale -inner-city-constructions of its time. The photograph was taken from inside the Tupkhana square." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation and condition reads, "The sky is completely covered in red ink. This line on the sides and the edges are cut off and very rough."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "921."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "19."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 23.7: Gulestan Palace, Tehran." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Yahya Zoka and Mohammad Hassan Semsar, Tehran Dar Tasvir, Tehran: Sazman-i Miras-i Farhangi-i Kishvar, 1997, Vol. 2, p:69-89
Tehran (Iran): Darvaza-i Maydan-i Tupkhana (Square of Canons): Military Ceremony [graphic]
FSA A.4 2.12.GN.23.08
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 23."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The soldiers of Cossack Brigade are preparing the canons. Note that the person in white military attire is most probably one of the Russian leaders of Cossack Brigade. The figure standing beside him is most probably Abd al-Hussayn Khan Farmanfarma, the minister of war of Hassan Mostawfi's cabinet (1910)." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "The image is a copy print. In the original print the area in the middle of the image was painted over, covering the hat of one of the standing men, going over the face of another and chopping off another figure's face."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "996."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 23.8: Canon exhibition." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Studio Portrait: Nomad Women [graphic]
FSA A.4 2.12.GN.23.09
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 23."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The image is a copy print." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "919."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "517) Zoroastrian women." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 23.9: Zoroastrian women (# 517)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Albumen print numbered FSA A2011.03 B.53; available in Stephen Arpee Collection of Sevruguin Photographs.
Albumen print numbered FSA A2011.03 A.27a; available in Stephen Arpee Collection of Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Men on a Hunting Trip [graphic]
FSA A.4 2.12.GN.23.10
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 23."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 23.10: Man." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Men Posed with Hunting Rifles [graphic]
FSA A.4 2.12.GN.23.11
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 23."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 23.11: Rifle exhibition." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Nasir Al-Din Shah's Group of Hunters along with the Head of the Royal Stable, Mohammad Hussayn Mirza, Mir Akhur [graphic]
FSA A.4 2.12.GN.23.12
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 23."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The man sitting in the window-opening is Muhammad Hussayn Mirza Mir Akhur, Yamin al-Sultan. Yamin al-Sultan died in 1904. He was given the tile of Yamin al-Sultan in 1896 and he was appointed to his position as the chief of Royal stable (Mir Akhur) in 1884." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "947."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "511) Hunting hawks." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 23.12: Hunting hawks ( # 511)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Mahdi Bamdad: Sharh-i Hal-i Rijal-i Iran dar Qarn-i 12,13,14 Hijri, Tehran: Intisharat-i Zavvar (Zavvar Publishing): 1992, Vol.4, p:262
Group Portrait: Mullahs Seating "Bast" [graphic]
FSA A.4 2.12.GN.23.13
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 23."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "510) Mullahs on strike (bāst)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 23.13: Mullahs on strike (# 510) bāst." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Royal Puppet Show [graphic]
FSA A.4 2.12.GN.24.01
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 24."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The show was usually accompanied by men in foreground playing musical instruments. The man sitting on the left side of the image and close to the scene is called Murshid. He is the one who speaks with the puppets and guides the play. The small carpet on top of the scene and on the curtain reads: Kaka Mahalla on its left. the right hand side writing is not legible." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "512) Marionettes." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 24.1: Marionette (# 512)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Albumen print numbered FSA A2011.03 B.53; available in Stephen Arpee Collection of Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Group Portrait: Mullahs Seating "Bast" [graphic]
FSA A.4 2.12.GN.24.02
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 24."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Faded handwritten number (inked, probably by Antoin Sevruguin) reads, "2."
- Handwritten information on slip of paper reads, "Mullahs taking bāst." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 24.2: Mullahs taking bāst." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Albumen print numbered FSA A2011.03 B.53; available in Stephen Arpee Collection of Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Men on a Hunting Trip [graphic]
FSA A.4 2.12.GN.24.03
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 24."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 24.3: Hunters." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Men on a Hunting Trip [graphic]
FSA A.4 2.12.GN.24.04
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 24."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "513) Hunters." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "513) Hunters." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 24.4: Hunters ( # 513)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Maydan-i Tupkhana, Baladiyya (City Hall) [graphic]
FSA A.4 2.12.GN.24.05
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 24."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The city hall is located in the north wing of the Tupkhana square (Maydan-i Tupkhana). The new Canons' square and the two storey buildings surrounding it were built between 1867 and 1877 on the north side of the old Canons' square or Maydan-i Arg. The two-storey building in the background of the image surrounding the square was initially planned as a reservoir of military equipment and a meeting and living place of military officials." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "521) Baladieh." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 24.5: Baladieh (# 521)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Turkmen Representatives at Maydan-i Mashq (Shooting Range) [graphic]
FSA A.4 2.12.GN.24.06
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 24."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The bottom and the two sides are ragged. The glass was sowed off."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "1173."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 24.6: Men outside mosque (?)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Royal Banquet with Nasir Al-Din Shah's Brother, Abbas Mirza [graphic]
FSA A.4 2.12.GN.24.07
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 24."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The figures are identified as such: From right to left: Mirza Tahir Mostawfi Basir al-Molk, Ahmad Mirza Azad al-Dawla, Muhammad Taqi Mirza Rukn al-Dawla, Abbas Mirza Mulk-are, Abd al-Samad Mirza 'Ez al-Dawla, and Shahzada (prince) Amid al-Dawla. Nasir Al-Din Shah's brother, Abbas Mirza, was a contender to the throne of Muhammad Shah and after the crowning of Nasir Al-Din Shah he departed Iran to Baghdad and lived there for twenty-five years. He was born in 1839, left Iran in 1853 and returned to Iran in 1878. He died one year after the death of Nasir Al-Din Shah in 1897. The photo must have been taken a few years after his return to Iran." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "1121."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 24.7: Men seated at meal in palace." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Mahdi Bamdad: Sharh-i Hal-i Rijal-i Iran dar Qarn-i 12,13,14 Hijri, Tehran: Intisharat-i Zavvar (Zavvar Publishing): 1992, Vol.2, p:223
Tehran (Iran): Kakh-i Gulistan (Gulistan Palace), Inner court/Garden [graphic]
FSA A.4 2.12.GN.24.08
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 24."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"From the motifs of the tiles one can guess that they are most probably intended to secular/residential decoration." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "1002."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 24.8: Men seated in palace (?)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Front Courtyard of Kakh-i Gulistan (Gulistan Palace): Salam Ceremony [graphic]
FSA A.4 2.12.GN.24.09
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 24."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"During the reigns of the first four kings of Qajar dynasty, what is now known as the Salam ceremony had gradually gained a special ceremonial function and was conducted with considerable care and through strict observance of specific rituals. During the ceremony the courtiers, military officials, European officials accompanied, in some cases and in the earlier days of Fath Ali Shah's reign, by the general population would attend the ceremony and paid their respects - or in this case their Nowruz greetings- to the residing Qajar King. The placement of everything from the king's hookah and small seating place on the throne to the arrangement of the different official and military groups in the garden were predetermined and following the traditions set in the earlier days of Qajar dynasty. The photo is most probably taken during Salam ceremony, however the difference in the decoration of the front balcony of the palace, when compared to another print of a similar ceremony in the archives (FSA A.4 2.12.GN.15.02) suggests that the ceremony might have been due to an official occasion other than Nowruz." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The bottom edge is ragged. The glass is sowed off at the bottom edge."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "1131."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 24.9: Men outdoors." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Men Selling Textile Fabrics in Bazaar [graphic]
FSA A.4 2.12.GN.24.10
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 24."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "1197."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 24.10: Carpet displays." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Studio Portrait: Sardar Zafar Bakhtiari [graphic]
FSA A.4 2.12.GN.24.11
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 24."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"One of the major Bakhtiari Khans of during the constitutional revolution in Tehran, Sardar Zafar, originally was a defender of the Royalist government of Mohammad Ali Shah Qajar, was appointed the Ilkhan of Bakhtiari in 1908, replacing his half-brother Samsam al-Saltana. In 1909 and following their overtake of Isfahan, Sardar As'ad and the rest of the revolutionary Bakhtiaries convinced him to switch sides and merge with the revolutionaries; a request with which he obliged." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "All the four edges are rough."
- Faded handwritten number (inked, probably by Antoin Sevruguin) reads, "1073."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "335) Bakhtiar Sardar Zafar." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 24.11: Bakhtiari Sardar Zafar (335)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Shahristanak (Iran): Imarat-i Shahristanak, Nasir Al-Din Shah's Royal Summer Compound [graphic]
FSA A.4 2.12.GN.25.01
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 25."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The building was built in 1877-1878 on the orders of Nasir al-Din Shah Qajar as a summer palace for the court. The architect of the complex was Haji Abulhassan Mi'mar Bashi. The palace was built on route from Tehran to Caspian Sea and the city of Chalus. It was primarily used as a getaway from the capital by the royal court. The exterior and the plan resemble those of Sahibqaraniyya Palace in northern Tehran. The image shows the structure admist one of the royal camping trips' entourage. The while tents in front of the palace are the residences of the royal entourage." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Faded handwritten number (inked, probably by Antoin Sevruguin) reads, "1189."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 25.1: View of valley and fortress." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Yahya Zoka and Mohammad Hassan Semsar, Tehran Dar Tasvir, Tehran: Sazman-i Miras-i Farhangi-i Kishvar, 1997, Vol.2, p:431
Sven Hedin, Konung Oscars Beskickning Till Schahen af Persien, Stockholm: Samson & Wallin: 1890, p:410
Province of Gilan (Iran): Port of Bandar Anzali [graphic]
FSA A.4 2.12.GN.25.02
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 25."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The image is part of a series of photos from the port and its new constructions. The photos depict the official buildins of Bandar-I Anzali (also called Bandar-I Pahlavi) or Anzali port. One of the images in the series shows one of the buildings with a sing on top that reads: "[...] Nazmiyya - Bandar-i Pahlavi". the port of Anzali on the south edge of the Caspian sea and to the north of Tehran was renamed to Pahlavi in 1934. As such the photo mush have been taken after the death of Antione Sevruguin and by someone associated with his studio." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "All the four sides are rugged. The bottom cut sowed through a scratched number."
- Faded handwritten number (inked, probably by Antoin Sevruguin) reads, "12??."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1749."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) non readable.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 25.2: Ships and docks." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): City Rooftops, View towards North [graphic]
FSA A.4 2.12.GN.25.03
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 25."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The edges are rugged."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "965."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 25.3: View of village roofs." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Province of Gilan (Iran): House and Formal Garden at Port of Bandar Anzali [graphic]
FSA A.4 2.12.GN.25.04
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 25."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The image is part of a series of photos from the port and its new constructions. The photos depict the official buildins of Bandar-I Anzali (also called Bandar-I Pahlavi) or Anzali port. One of the images in the series shows one of the buildings with a sing on top that reads: "[...] Nazmiyya - Bandar-i Pahlavi". the port of Anzali on the south edge of the Caspian sea and to the north of Tehran was renamed to Pahlavi in 1934. As such the photo mush have been taken after the death of Antione Sevruguin and by someone associated with his studio." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass is very light and thin."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 25.4: (?)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Illustration Page Depicting a Large, Persian Man [graphic]
FSA A.4 2.12.GN.25.05
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 25."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The photograph is of a painting signed 'M.A.K', '1923', 'Tehran'. Not much is known about the artist, Pavel Petrovich Ivanov (b.1891-d.1967), except for the fact that he had lived in Iran for a short period between 1922 and 1925, practiced a style inspired by miniature painting and then immigrated to Belgium where he lived and worked for the rest of his life." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "There is black paper stuck to the emulsion side of the negative on all four sides of the image."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 25.5: Etching." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Illustration Page Depicting a Man Viewing a Woman with a Child [graphic]
FSA A.4 2.12.GN.25.06
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 25."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The photograph is of a painting signed 'M.A.K', '1923', 'Tehran'. Not much is known about the artist, Pavel Petrovich Ivanov (b.1891-d.1967), except for the fact that he had lived in Iran for a short period between 1922 and 1925, practiced a style inspired by miniature painting and then immigrated to Belgium where he lived and worked for the rest of his life." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 25.6: Etching." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Illustration Page Depicting Men Performing Qame-Zani (a form of self-flagellation) [graphic]
FSA A.4 2.12.GN.25.07
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 25."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The photograph is of a painting signed 'M.A.K', '1923', 'Tehran'. Not much is known about the artist, Pavel Petrovich Ivanov (b.1891-d.1967), except for the fact that he had lived in Iran for a short period between 1922 and 1925, practiced a style inspired by miniature painting and then immigrated to Belgium where he lived and worked for the rest of his life." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 25.7: Etching." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Illustration Page Depicting a Woman in Carriage and Man with Bow [graphic]
FSA A.4 2.12.GN.25.08
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 25."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The photograph is of a painting signed 'M.A.K', '1923', 'Tehran'. Not much is known about the artist, Pavel Petrovich Ivanov (b.1891-d.1967), except for the fact that he had lived in Iran for a short period between 1922 and 1925, practiced a style inspired by miniature painting and then immigrated to Belgium where he lived and worked for the rest of his life." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 25.8: Miniature." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Illustration Page Depicting Men Performing Qame-Zani (a form of self-flagellation) [graphic]
FSA A.4 2.12.GN.25.09
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 25."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The photograph is of a painting signed 'M.A.K', '1923', 'Tehran'. Not much is known about the artist, Pavel Petrovich Ivanov (b.1891-d.1967), except for the fact that he had lived in Iran for a short period between 1922 and 1925, practiced a style inspired by miniature painting and then immigrated to Belgium where he lived and worked for the rest of his life." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 25.9: Miniatures." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Illustration Page Depicting a Woman [graphic]
FSA A.4 2.12.GN.25.10
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 25."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The photograph is of a painting signed 'M.A.K', '1923', 'Tehran'. Not much is known about the artist, Pavel Petrovich Ivanov (b.1891-d.1967), except for the fact that he had lived in Iran for a short period between 1922 and 1925, practiced a style inspired by miniature painting and then immigrated to Belgium where he lived and worked for the rest of his life." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "Black paper stuck to the four sides of the image on the emulsion side."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 25.10: Miniatures." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Illustration Page Depicting a Procession of Women [graphic]
FSA A.4 2.12.GN.25.11
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 25."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The photograph is of a painting signed 'M.A.K', '1923', 'Tehran'. Not much is known about the artist, Pavel Petrovich Ivanov (b.1891-d.1967), except for the fact that he had lived in Iran for a short period between 1922 and 1925, practiced a style inspired by miniature painting and then immigrated to Belgium where he lived and worked for the rest of his life." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "Black paper stuck to the four sides of the image."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 25.11: Miniatures." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Illustration Page Depicting a Woman with Servant [graphic]
FSA A.4 2.12.GN.25.12
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 25."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The photograph is of a painting signed 'M.A.K', '1923', 'Tehran'. Not much is known about the artist, Pavel Petrovich Ivanov (b.1891-d.1967), except for the fact that he had lived in Iran for a short period between 1922 and 1925, practiced a style inspired by miniature painting and then immigrated to Belgium where he lived and worked for the rest of his life." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "Black paper stuck to the four sides of the image."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 25.12: Miniatures." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Illustration Page Depicting a Procession [graphic]
FSA A.4 2.12.GN.25.13
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 25."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The photograph is of a painting signed 'M.A.K', '1923', 'Tehran'. Not much is known about the artist, Pavel Petrovich Ivanov (b.1891-d.1967), except for the fact that he had lived in Iran for a short period between 1922 and 1925, practiced a style inspired by miniature painting and then immigrated to Belgium where he lived and worked for the rest of his life." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "Black paper stuck to the four sides of the image."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 25.12: Miniatures." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Portrait of Reza Shah Pahlavi with Boris Shumyatsky, the Soviet Ambassador [graphic]
FSA A.4 2.12.GN.26.01
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 26."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The photo is of Riza Khan in the position of Iran's prime minister accompanied by Boris Shumyatsky, the Russian ambassador to Iran between 1923 and 1925. Riza Khan later founded the Pahlavi dynasty in Iran. Initially an officer of the Cossack Brigade and a brigadier general in later years, Riza Khan quickly rose to power during the final years of Qajar dynasty, becoming first the minister of war and later the prime minister of the last Qajar King, Ahmad Shah. After Ahmad Shah's deposition in November of 1925, to which the congress rulled under heavy pressure from Riza Khan, Riza Shah took his imperial oath and became the Shah of Iran. His coronation, however, happened a few months later, in April of 1925. This photo is taken during his term as the prime minister and during Shumyatsky's appointment in Iran. The image is part of a series of images that show Shumyatsky accompanied by various religious and official groups, including another image of him and Riza Khan amongst the later's members of cabinet. (Neg.27.7, Neg.27.6)." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "Traces of varnish around both figures' faces."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "48) Reza Pahlevi and Russian Ambassador." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 26.1: Reza Pahlavi and Russian ambassador (# 48)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Nasseriya Street [graphic]
FSA A.4 2.12.GN.26.02
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 26."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "295."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "917."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "51) Khiabani Nasirieh." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 26.2: Khiabani Nasirieh (# 51)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Safid Rud Valley [graphic]
FSA A.4 2.12.GN.26.03
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 26."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is cracked."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "109."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "4?6."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 26.3: Landscape. Valley of very old river (cracked)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.4 2.12.Up.04; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Dawlat Gate, Northeast City Gate, with Alborz Mountain Range in Background [graphic]
FSA A.4 2.12.GN.26.04
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 26."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The structure dates to Nasir Al-Din Shah's time. After the expansion of Tehran, which started in 1867, six gates were added to the city walls of Tehran, one of the most elaborately designed one of which was Darvaza Dawlat. The gate was built in 1871 by Mohammad Rahim Khan 'Ala al-Dawla (Amir Nizam). and at least until the end of 1870s, it had the central archway facing the city and the goat heads of the central top piece on its other side, facing outside the city. During a reconstruction in 1880s the archway of the internal side, along with the goat-heads of the external side were removed. This photo is of the gate when it had both features. The winter view of the road ending to the gate from the city allows a rare view of the surrounding area. Located on the north side of the wall, Darvaza Dawlat, along with Shimiran and Yusif Abad Gates, marked the northern boundaries of the city. The view of the gates usually differed from the side facing the city to the side facing the outside. Almost all of the twelve gates of the city were torn down during the later expansion of Tehran in 1930s." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "Black paper stuck to the sky. Small sticker on the bottom left corner on the glass side."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "277."
- Faded handwritten number (inked, probably by Antoin Sevruguin) reads, "109."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "9."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "217) Darvazeyi Dowlat." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 26.4: Tehran. Darwazeyi Dowlat (# 217)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Three Vessels with Elaborate Ornamentation [graphic]
FSA A.4 2.12.GN.26.05
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 26."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "211-212) Two ancient dishes eter." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 26.5: Two ancient dishes (# 211-212)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.4 2.12.Sm.90; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Studio Portrait: Three Wrestlers Taking the Pose [graphic]
FSA A.4 2.12.GN.26.06
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 26."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is broken with missing piece in lower right corner."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "237."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "214) Wrestlers. [Marked with unidentified seal]." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 26.6: Wrestlers (# 214) (chipped)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Studio Portrait: Man, Woman and Infant [graphic]
FSA A.4 2.12.GN.26.07
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 26."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is missing a piece in lower right corner."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 26.7: Two beggers (# 213) (chipped)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Shahr-i Ray (Iran): North side of Naqar Khana, Tomb Tower [graphic]
FSA A.4 2.12.GN.26.08
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 26."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The tower is attributed to Seljuk times. Myron Bement Smith refers to it in his own photographic archives (Box 82 of 250). In his description of the photo however, he mentions there are no numbers on it. The negative has a scratched number. The note is date to June of 1936. The image does not appear to have a number in the publication." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "Red ink covers the sky all the way down to the edges of the structure."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1706."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 26.8 (P) [black-and-white print on hand]. Tehran. Rayy. Mausoleum (# 214)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.4 2.12.Sm.86; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Michael Myers Shoemaker, The Heart of the Orient, New York: The Knickerbockers Press, 1904, p:169
Tus (Iran): Haruniya Mausoleum [graphic]
FSA A.4 2.12.GN.26.09
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 26."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Built in mid 14th century on the road to Mashhad, the tomb houses a Mihrab inside. The photograph is the view towards north and from the southern façade of the structure." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "There is red paper stuck to the area around the structure and black and red paint covers the area between the paper and the structure. Two figures standing in front of the structure are also painted over with black ink."
- Handwritten number (scratched, probably by Antoin Sevruguin) reads, "711."
- Faded handwritten number (inked, probably by Antoin Sevruguin) reads, "267."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "218) Imamzadeh in Nishapur. [Marked with unidentified seal]." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 26.9 (P) [black-and-white print on hand]. Khorasan. Tus. "Hauriyaniyeh" Mausoleum (# 218)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.4 2.12.Sm.76; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Michael Myers Shoemaker, The Heart of the Orient, New York: The Knickerbockers Press, 1904, p:169
Residence of a Diplomat (?) [graphic]
FSA A.4 2.12.GN.26.10
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 26."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Built in mid 14th century on the road to Mashhad, the tomb houses a Mihrab inside. The photograph is the view towards north and from the southern façade of the structure." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "There is red paper stuck to the area around the structure and black and red paint covers the area between the paper and the structure. Two figures standing in front of the structure are also painted over with black ink."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "11."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1293."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 26.10: Residence salon (# 53)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.4 2.12.Up.62; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Michael Myers Shoemaker, The Heart of the Orient, New York: The Knickerbockers Press, 1904, p:169
Portrait of a Veiled Persian Woman Standing in a Courtyard [graphic]
FSA A.4 2.12.GN.26.11
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 26."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is cracked."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "143."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "215) Persian woman." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 26.11: Persian woman (# 215) (cracked)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Samuel K. Nweeya, Persia the Land of Magi or the Home of the Wise Man, Philadelphia: The John C. Winston Company, 1904, p:14
Qum (Iran): Hazrat-i Ma'suma Shrine Complex and Islamic Cemetery in the Foreground [graphic]
FSA A.4 2.12.GN.26.12
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 26."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The intial construction on the site of the holy shrine - with an octoganal plan - in Qum dates back to 13th century. In addition to northward expansion of the whole complex, the original octagonal dome was also modified into a round structure in the earlier years of Safavid dynasty. the southwest corner of the structure houses the tombs of more than a few of Safavid kings, including Shah Sultan Hussayn and Shah Safi. In the 1880s, the new courtyard to the shrine was ordered by Amin al-Sultan, during which the two grand minarets of the western iwan and the two smaller minarets of the entrance were also added to the complex. The golden dome is dated back to Fath Ali Shah-I Qajar, which is consistent with the other restorations to religious buildings of the time. The image depicts the vast cemetary in front of the Shrine of Fatima al-Ma'suma with visitors to the tombs. It was deemed a great honour and a privilege for people to be buried on the site of the two holy shrines in Iran, Imam Riza Shrine of Mashhad and Fatima al-Ma'suma shrine in Qum." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is missing a piece in the lower right corner."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "216) Qom." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 26.12: (P) [black-and-white print on hand]. Qum. Qum. Shrine of Fatimeh. General view (# 216)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.4 2.12.Sm.55; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Group Portrait: Dignitaries at the Russian Exposition [graphic]
FSA A.4 2.12.GN.26.13
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 26."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The figure standing off-centre of the image to the right is Mostawfi al-Mamalik. Born in 1875, he inherited his father's title and official post as the chief of treasury when he was only 10. He left Iran for Paris in 1900 and came back in 1907 to accept the new role of minister of army in Amin al-Sultan's cabinet. In later years, he was repeatedly appointed as prime minster or the minister of army until he passed away in 1932." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 26.13: Russian exposition (# 50) (chipped)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Mahdi Bamdad, Sharh-i Hal-i Rijal-i Iran dar Qarn-i 12,13,14 Hijri, Tehran: Intisharat-i Zavvar (Zavvar Publishing): 1992, Vol. 1, p:318-321
Studio Portrait: Hassan Ali Khan Garusi (b.1822-d.1899), Known as Amir Lashgar and Amir Nizam [graphic]
FSA A.4 2.12.GN.26.14
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 26."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Hassan Ali Khan Garusi or Amir Nizam was born in 1822 and from 1838 till his death in 1899 occupied numerous official positions in Qajar court. He was one of the most influential politicians of the Qajar court. The photo is most probably taken in the last years of his life." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "878."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "49) Iranian minister ??." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 26.14: Iranian minister." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Mahdi Bamdad, Sharh-i Hal-i Rijal-i Iran dar Qarn-i 12,13,14 Hijri, Tehran: Intisharat-i Zavvar (Zavvar Publishing): 1992, Vol.1, p: 359-367
Tehran (Iran): Conference Room in Russian Embassy [graphic]
FSA A.4 2.12.GN.27.01
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 27."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Note the bust on the shelf and the photos on the background wall are of Lenin. The writing on the background wall hails Lenin as well. It is possible that the abundance of references to Lenin are a product of his death in 1924." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is very thin."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "52) Conference room in Russian Embassy. Russian writing above: Lenin lived; Lenin lives; Lenin will always live." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 27.1: Conference in Russian Embassy (# 52)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Group Portrait: Officers of the Cossack Brigade [graphic]
FSA A.4 2.12.GN.27.02
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 27."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "The glass negative has the photographer's signature. The right side wall is painted over with black ink and the left side wall is completely eliminated by chopping off the emulsion. The four sides of the glass are rugged."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "347."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "743."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "54) Group of officers of former dynasty." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 27.2: Group of officers of former dynasty (# 54)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
General View of a Village [graphic]
FSA A.4 2.12.GN.27.03
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 27."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is broken."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "447."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 27.3: View of a city (# 44)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Painting from Chihil Sutun, Isfahan (Iran) [graphic]
FSA A.4 2.12.GN.27.04
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 27."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The photo depicts a painting, which is copied off the famous painting of the party of Shah Abbas I and Vali Muhammad Khan, the Uzbek king of Turkistan who was given sanctuary in Safavid court, in the Audience Hall of Chihil Sutun palace. The writing on top of the painting has a specific date for the painting of the image (1912) and the name of the painter (Naqash-Bashi Simurghi) who apparently painted the image based on the painting in Chihil Sutun on the orders of the governor of Isfahan and in its Dar al-Khalafa. The palace, located inside the garden complex of Chihil Sutun, was built on the orders of Shah Abbas I (b.1571-d.1621) and heavily expanded during the reign of Shah Abbas II (b.1643-d.1666). The name of the palace - 'forty columns' - derives not from the actual number of columns in the palace's deep front balcony, but commonly refers to the number of the columns and their reflections in the front pool. The palace also houses one of the largest collections of Iranian mural paintings." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "294) Painting from Chihil Situn." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 27.4: Painting from Chihil Sutun, Isfahan (# 294)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Sussan Babaie," Shah ʿAbbas II, the Conquest of Qandahar, the Chihil Sutun, and Its Wall Paintings," Muqarnas , Vol. 11, (1994), pp. 125-142
Rayy (Iran): Zoroastrian Tower of Silence (Khamushan Tower) [graphic]
FSA A.4 2.12.GN.27.05
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 27."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "Red ink covers the sky all the way down to the edges of the structure."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "307."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1187."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "297) Tower of silence." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 27.5: Towers of silence (# 297)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.4 2.12.Sm.86; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Michael Myers Shoemaker, The Heart of the Orient, New York: The Knickerbockers Press, 1904,p:173
Jean-Baptiste Feuvrier, Trois Ans à la Cour de Perse, Paris: F. Juven, 1900, p:269.
Group Portrait: Boris Shumiatsky, Soviet Ambassador, with Persian Dignitaries [graphic]
FSA A.4 2.12.GN.27.06
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 27."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The photo is from the people involved in Shumyatski's commercial treaty." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "299) Shumiatsky commercial treaty." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 27.6: Shumiatsky commercial treaty (# 299)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Hussayn Makki, Bist Sal Tarikh-i Iran, Tehran, 1979
Group Portrait: Soviet Ambassador Boris Shumiatsky with Riza Shah and Persian Cabinet Ministers [graphic]
FSA A.4 2.12.GN.27.07
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 27."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The photo is most probably taken during the reign of Ahmad Shah Qajar and before the abolishment of Qajar dynasty. Boris Shumiatsky was in Iran from 1923 to 1925 and in this photo he is sitting beside Riza Khan. The style of ministers' headgears in the photo also indicates that the date is before 1926 when the Pahlavi Hats became mandatory for office workers. Therefore, it is safe to assume that the photo is taken around 1924.The man wearing glasses and standing towards the right side of the photo is Nusrat al-Dawla, the minister of Justice." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "300) Commercial treaty Iranian ministers." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 27.7: Shumiatsky commercial treaty. Iranian ministers (# 300)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Hussayn Makki, Bist Sal Tarikh-i Iran, Tehran, 1979
Portrait of Reza Shah Pahlavi on a Horse while Minister of War [graphic]
FSA A.4 2.12.GN.27.08
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 27."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The photo is of Riza Khan in the position of Iran's prime minister accompanied by Boris Shumyatsky, the Russian ambassador to Iran between 1923 and 1925. Riza Khan later founded the Pahlavi dynasty in Iran. Initially an officer of the Cossack Brigade and a brigadier general in later years, Riza Khan quickly rose to power during the final years of Qajar dynasty, becoming first the minister of war and later the prime minister of the last Qajar King, Ahmad Shah. After Ahmad Shah's deposition in November of 1925, to which the congress rulled under heavy pressure from Riza Khan, Riza Shah took his imperial oath and became the Shah of Iran. His coronation, however, happened a few months later and in April of 1925. This photo is taken during his term as the prime minister and during Shumyatsky's appointment in Iran." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "301) Riza on horse." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 27.8: Riza Pahlavi on horse (# 301)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Hussayn Makki, Bist Sal Tarikh-i Iran, Tehran, 1979
Myron Bement Smith Collection: Antoin Sevruguin Photographs
FSA A.4 2.12.GN.27.09
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 27."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The photo depicts Antoine Sevruguin, his wife and possibly his brother (back row), two daughters and two sons. Whereas the older daughter and son, along with their mother look directly into the lens of the camera, the photographer, along with his younger daughter and son and his brother look away from the gaze of the camera. The photo must have been taken in the Sevruguin studio. The arbitrary framing of the image, however, make it a bit unusual even for personal consumption." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is missing a piece in the lower right corner."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "302) Sevruguin family." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 27.9: Sevruguin Family (# 302)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Russians Posed with Possibly the First Truck in Iran [graphic]
FSA A.4 2.12.GN.27.10
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 27."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "Copy of a photograph and based on the thickness of the glass and the condition of the emulsion it is an early production."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "355."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "304) First truck." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 27.10: First truck (# 304)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Hussayn Makki, Bist Sal Tarikh-i Iran, Tehran, 1979
Studio Portrait: Family [graphic]
FSA A.4 2.12.GN.27.11
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 27."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "Black paper stuck to this four sides of the image. The faces are all varnished and toned."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "303) A zoroastrian Family. [Marked with unidentified seal]." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 27.11: a zoroastrian Family (# 303)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Kakh-i Gulistan (Gulistan Palace), Front Courtyard: Marasim-i Salam (Salam Ceremony) [graphic]
FSA A.4 2.12.GN.28.01
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 28."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"During the reigns of the first four kings of Qajar dynasty, what is now known as the Salam ceremony had gradually gained a special ceremonial function and was conducted with considerable care and through strict observance of specific rituals. During the ceremony the courtiers, military officials, European officials accompanied, in some cases and in the earlier days of Fath Ali Shah's reign, by the general population would attend the ceremony and paid their respects - or in this case their Nowruz greetings- to the residing Qajar King. The placement of everything from the king's hookah and small seating place on the throne to the arrangement of the different official and military groups in the garden were predetermined and following the traditions set in the earlier days of Qajar dynasty. The photo is taken during one of the official Salam ceremonies on either the occasion of Nowruz or the return of Nasir Al-Din Shah from one of his longer trips. The long table set before the balcony and in front of the row of attendants suggests that the ceremony might be a Nowruz Salam ceremony. The shah is sitting on the Marble Throne in the dark spot of the background. The dramatic contrast in the photograph allows for the patterns beneath the fountains in the pool to become visible. It is also notable that in all such occasions, the guards and military personnel stand to the right side of the Shah and the left side of the photo." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "All four edges are rugged."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "53."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "616."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "280) Reception at Gulistan." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 28.1: Tehran. Gulestan. Reception (280)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Kakh-i Gulistan (Gulistan Palace Complex), Imarat-i Badgir (Wind-catcher Building) [graphic]
FSA A.4 2.12.GN.29.11
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 29."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The villa was built on the south side the Gulistan Palace complex on the orders of Fath Ali Shah Qajar. Later on and on the orders of Nasir al-Din Shah extensive renovations were carried out on the site and the renovations continued later in the early Pahlavi era as well. The building is currently undergoing fresh rounds of renovations. The photo depicts the structure from the far end of the front pool, carefully framing the structure in the centre of the image. The complete symmetry of the plans allows for such symmetry in the image." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "253."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1145."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 29.11: (P) [black-and-white print on hand]. Tehran. Tehran. Locante (?) (Gulestan?) (# 253)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.4 2.12.Sm.43; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs
Albumen print numbered FSA A2011.03 B.18; available in Stephen Arpee Collection of Sevruguin Photographs.
Albumen print numbered FSA A2011.03 A.13a; available in Stephen Arpee Collection of Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Isfahan (Iran): Qasr-i Chihil Sutun (Forty-Columns Palace) [graphic]
FSA A.4 2.12.GN.28.03
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 28."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The photo depicts the palace of Chihil Sutun and the garden and pool in front of it. The palace, located inside the garden complex of Chihil Sutun, was built on the orders of Shah Abbas I (b.1571-d.1621) and heavily expanded during the reign of Shah Abbas II (b.1643-d.1666). The name of the palace - 'forty columns' - derives not from the actual number of columns in the palace's deep front balcony, but commonly refers to the number of the columns and their reflections in the front pool. The palace also houses one of the largest collections of Iranian mural paintings." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 28.3: Isfahan. Chihil Sutun." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Isfahan (Iran): Qasr-i Chihil Sutun (Forty-Columns Palace) [graphic]
FSA A.4 2.12.GN.28.04
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 28."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The photo depicts the palace of Chihil Sutun and the garden and pool in front of it. The palace, located inside the garden complex of Chihil Sutun, was built on the orders of Shah Abbas I (b.1571-d.1621) and heavily expanded during the reign of Shah Abbas II (b.1643-d.1666). The name of the palace - 'forty columns' - derives not from the actual number of columns in the palace's deep front balcony, but commonly refers to the number of the columns and their reflections in the front pool. The palace also houses one of the largest collections of Iranian mural paintings." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 28.4: Isfahan. Chihil Sutun." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Man Selling Medicines or possibly Sugar Beets [graphic]
FSA A.4 2.12.GN.28.05
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 28."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "783."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "986."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "250) Selling medicines." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 28.5: Selling medicines (# 250)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Man on Donkey with Birds [graphic]
FSA A.4 2.12.GN.28.06
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 28."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "41."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1114."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "252) Poultry." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 28.6: Poultry (# 252)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Studio Portrait: Seated Dervish Holding Engraved Axe [graphic]
FSA A.4 2.12.GN.28.07
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 28."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is broken with a missing piece in the lower left corner."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "7."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "253) Dervish." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 28.7: Dervish (# 253)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Albumen print numbered FSA A.15 06; available in Jay Bisno Collection of Sevruguin Photographs, 1969-1985.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Shushtar (Iran): Bridge over River Karun [graphic]
FSA A.4 2.12.GN.28.08
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 28."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"There is "W 12" written on the image but not on the negative." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "712."
- Faded handwritten number (inked, probably by Antoin Sevruguin) reads, "4."
- Faded handwritten number (reversed) reads, "W12."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "255) Pol i Shushtar." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 28.8: Khuzistan. Shushtar. Pol-i Shushtar (# 255)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Persepolis (Iran): Northwestern Corner of Terrace Complex and Outcrops of Unwrought Bedrock [graphic]
FSA A.4 2.12.GN.29.01
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 29."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "822."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1665."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 29.1: (P) [black-and-white print on hand]. Fars. Persepolis." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.4 2.12.Sm.21; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Gelatin silver print numbered FSA A.6 04.GN.1375; available in Ernst Herzfeld Papers, Series 4: Photographic Files, 1903-1947.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Persepolis (Iran): Tomb of Artaxerxes II Mnemon (Tomb V) [graphic]
FSA A.4 2.12.GN.29.02
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 29."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "The image is a copy print of a photograph."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "81."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) not readable.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 29.2: Fars. Persepolis." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Persepolis (Iran): Tachara Palace (Palace of Darius) [graphic]
FSA A.4 2.12.GN.29.03
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 29."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The four sides of the glass negatives are unevenly cut."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "802."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 29.3: Fars. Persepolis." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Naqsh-i Rustam (Iran): Achaemenid Tomb of Xerxes [graphic]
FSA A.4 2.12.GN.29.04
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 29."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "The sky is covered with brownish paper. The area between the paper and the horizon line is filled with black ink (on the emulsion side). On the lower half of the negative an imprint of what looks like ink around five columns of Persepolis - from another photograph of that scene - is visible, which is most probably due to the original storing of the two negatives on top of one another."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "850."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "195."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 29.4: Fars. Persepolis or Naqsh-i Rustam." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Naqsh-i Rustam (Iran): Two Sasanian Reliefs Depicting the Equestrian Combat of King Bahram II (right) and the Triumph of Shapur I over Valerian (left) [graphic]
FSA A.4 2.12.GN.29.05
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 29."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is in remarkable condition. The image is very well exposed and the glass is very thin compared to the other negatives of the same series."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "572."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 29.5: Fars. Persepolis or Naqsh-i Rustam." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Naqsh-i Rustam (Iran): Achaemenid Tomb of Darius I: Inside View of Vault [graphic]
FSA A.4 2.12.GN.29.06
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 29."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "61."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1656."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 29.6: Fars. Persepolis or Naqsh-i Rustam." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.4 2.12.Sm.74; available in Myron Bement Smith Collection, ca. 1910-1970.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Persepolis (Iran): Tachara Palace (Palace of Darius), Central Facade of Southern Stairway: View of Relief Picturing Persian Guards Flanking Xerxes Inscription, XPcb [graphic]
FSA A.4 2.12.GN.29.07
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 29."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "174."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1668."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 29.3: (P) [black-and-white print on hand]. Fars. Persepolis. Takht-i Jamshid." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.4 2.12.Sm.30; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Naqsh-i Rustam (Iran): Sasanian Relief Depicting the Equestrian Combat of King Bahram II [graphic]
FSA A.4 2.12.GN.29.08
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 29."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is broken."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "601."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1663."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 29.8: Fars. Naqsh-i Rustam." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.4 2.12.Sm.15; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Naqsh-i Rajab (Iran): Sasanian Rock Relief Picturing Suite on Foot Following Shapur I [graphic]
FSA A.4 2.12.GN.29.09
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 29."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Instead of taking the photo facing the figures - thus placing the focus on the relief - the photo is taken so that the rocky background and the two figures in front of it are in focus. The same style of framing and focus can be observed with other photographs of archaeological sites in Sevruguin's archive that differentiates him from the photos taken by archaeologists." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is broken and portions of the emulsion are missing."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "852."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1645."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 29.9: Fars. ? (Fragments)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.4 2.12.Sm.15; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Naqsh-i Rustam (Iran): Two Sasanian Reliefs Depicting the Investiture of Ardashir I by the God Ahura Mazda (Hormizd) (left) as well as Bahram II and Court, Carved over a Pre-Achaemenid Relief (right) [graphic]
FSA A.4 2.12.GN.29.10
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 29."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is in remarkable condition. The image is very well exposed and the glass is very thin compared to the other negatives of the same series."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "225."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1655."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 29.10: (P) [black-and-white print on hand]. Fars. Naqsh-i Rustam." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.4 2.12.Sm.14; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Kakh-i Gulistan (Gulistan Palace Complex), Dari-Ahmasi [graphic]
FSA A.4 2.12.GN.28.02
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 28."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "122."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1494."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "279) Dari Ahmasi." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 28.2: (P) [black-and-white print on hand]. Dari Ahmasi (Gulestan?) (# 279)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.4 2.12.Sm.82; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
E. Kauder, Reisebilder aus Persien, Turkestan und der Turkei, Breslau: Schlesische Buchdruckerei, Kunst- und Verlagsanstalt S. Schottlaender, 1900: p:162
Isfahan (Iran): Ayina-khana (Hall of Mirrors) [graphic]
FSA A.4 2.12.GN.29.12
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 29."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The palace of Ayina-Khana was built by Shah Safi (Safavid) in the 17th century to resemble Chihil Sutun, the other royal palace in Isfahan. It was destroyed in 1891 by orders from the Qajar ruler of the city: Zil al-Sultan. Mas'ud Mirza or Zil al-Sultan was Nasir Al-Din Shah's oldest son and the governor of Isfahan for about thirty years." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "The image appear to be a copy print of an older image."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "182."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "286) Chihil Situm." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 29.12: Isfahan. Chihil Sutun (286)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Naqsh-i Rustam (Iran): Achaemenid Tomb of Darius I: Interior View of Vestibule with Vault on Right [graphic]
FSA A.4 2.12.GN.30.11
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 30."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The photo depicts the tomb with a young boy sitting in the far end of the tunnel and in front of the entrance. The interior of this tomb is the most accessible amongst the six tomb structure of Sassanid empire." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "On the top side of the negative (emulsion side), Sevruguin emulated the texture of the stone and filled out the area with black ink that resembles the natural continuation of the stone wall in the image."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "569."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1650."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 30.11: (P) [black-and-white print on hand] Fars. Persepolis or Naqsh-i Rustam. Passageway." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.4 2.12.Sm.84; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Persepolis (Iran): Throne Hall, Northern Wall, East Jamb of Western Doorway: View of Relief Picturing Enthroned King Giving Audience [graphic]
FSA A.4 2.12.GN.30.12
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 30."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "The sky is covered with black paper. The area between the paper and the horizon line is filled with black ink."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "248."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1659."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 30.12: (P) [black-and-white print on hand]. Fars. Persepolis. Takht-i Jamshid." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.4 2.12.Sm.27; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Province of Fars (Iran): Wooden Bridge to Yazd-i Khast or Izad-Khast Complex [graphic]
FSA A.4 2.12.GN.30.01
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 30."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The caption identifies this structure as Izadkhast or Yazd-i Khast. This complex contains the castle of Izad-khast(from Sassanid period), a caravanserai and a bridge of Safavid times. The works inside of the castle belong to different periods from Sassanids to Qajars. The castle of Izad-khast, built on a rock bed, has been resistant to decay and destruction because of its natural base. the image shows part of the castle that is being inhabited by local residents." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "196."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "166?."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "65) Bridge of Yazdi Khast." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 30.1: Fars - Yazd-i Khwast. Bridge (# 65)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Province of Fars (Iran): Yazd-i Khast or Izad-Khast Complex [graphic]
FSA A.4 2.12.GN.30.02
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 30."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"This complex contains the castle of Izad-khast (from Sassanid period), a caravanserai and a bridge of Safavid times. The works inside of the castle belong to different periods from Sassanids to Qajars. The castle of Izad-khast, built on a rock bed, has been resistant to decay and destruction because of its natural base. The photo depicts the structure from the side, presenting its overall size and extension into space. Also, since the point of view of the camera is on a lower ground than the base of the structure, the building appears grander and more imposing in space." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "There are three layers of touch ups on the slope of the hill under the structure: One seems to be graphite, another consists of mainly scratches and the other would be ink."
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "Both corner on the left are broken with missing pieces."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "51."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1670."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "62) Yazdi Khast." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 30.1: Fars - Yazd-i Khwast. Fortress (# 62)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Three Women Seated around a Kursi [graphic]
FSA A.4 2.12.GN.30.03
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 30."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The women are photographed in what seems like an andaruni or private room. The one in the centre - in more elaborate clothing and lounging on a mukhaddara or a rolled up mattress - is supporting her head on her left palm, leaning against the frame of the window. The other woman, sitting on the left, is wearing a simple black chador and white maghna'a or headscarf and hold her arm to her chest. The two women are positioned diagonally around a Kursi on top of which a mirror is facing the woman on the right. A third and smaller figure, with her face turned away from the camera, appears on the far right side the image, holding the neck of a ghalyan or shaisha. The woman in the centre of the image, though having the mirror in front of her, is looking away from the mirror and into the distance. The rigid pose of the central figure and the careful positioning of her hands in opposite directions signals the artificiality of the setting. The diverted gazes of the two women produce the illusion of the photographer intruding upon an intimate space, the presence of whom remains unnoted by the attendants. The photo is a close relative of another (43.10) in the archives that shows the same three women, this time gathered around the Kursi with one directly engaging the gaze of the camera." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "There are visible brush marks all over the centre of the image, which might be the results of applying varnish."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "865."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "63) Persian kursi." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 30.3: Persian kursi (# 63)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
E. Kauder, Reisebilder aus Persien, Turkestan und der Turkei, Breslau: Schlesische Buchdruckerei, Kunst- und Verlagsanstalt S. Schottlaender, 1900: p:117
Rasht (Iran): Bazaar [graphic]
FSA A.4 2.12.GN.30.04
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 30."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "61) Bazaar." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 30.4: Bazaar (# 61)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Iraj Afshar, Ganjina'i Aksha-i Iran, 1984, p:281
Man Executed by Public Hanging [graphic]
FSA A.4 2.12.GN.30.05
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 30."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 30.5: Courtyard (?)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Ruins of Sassanid Bridge and Water Mills at Dizful (Iran) [graphic]
FSA A.4 2.12.GN.30.06
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 30."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The bridge was constructed at the time of Shapur I and around the year 260 A.D. over the Diz river, making it one of the oldest bridges in the world. It is also known as Pul-I Rumi. The current structure has remnants of Safavid and Pahlavi renovations and additions as well. The photograph depicts the bridge from the elevated grounds of the riverbank, showing multiple people on top of the structure along both of the two stretches of the bridge." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "A thin piece of black paper is attached to the borders of the image. The exposed glass negative is glued to another empty piece of glass."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "234."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) not readable.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 30.6: Bridge" [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.4 2.12.Up.03; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Unidentified Caravanserai [graphic]
FSA A.4 2.12.GN.30.07
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 30."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The bridge was constructed at the time of Shapur I and around the year 260 A.D. over the Diz river, making it one of the oldest bridges in the world. It is also known as Pul-I Rumi. The current structure has remnants of Safavid and Pahlavi renovations and additions as well. The photograph depicts the bridge from the elevated grounds of the riverbank, showing multiple people on top of the structure along both of the two stretches of the bridge." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "A thin piece of black paper is attached to the borders of the image. The exposed glass negative is glued to another empty piece of glass."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "638."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1132."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 30.7: Caravanserai (?)" [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Kerman (Iran): Jabal-i Sang [graphic]
FSA A.4 2.12.GN.30.08
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 30."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The Structure is most probably a tomb dated to Seljuk times. The photo depicts the structure with two figures in western attire - a woman on the right and a man on the left - in front of it, facing the camera." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "There is a piece of light brown paper attached to the sky on the non-emulsion side. The area between the paper and the horizon is filled with ink."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "844."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 30.8: Tomb." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Schroeder, Eric. 1967. A Survey of Persian Art. Arthur U. Pope and Phyllis Ackermann (eds), 14 Volumes. London, New York: Oxford University Press, p.1016-1020
Group Portrait: Staff of Imperial Bank of Iran [graphic]
FSA A.4 2.12.GN.30.09
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 30."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "145) Staff of IBI." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 30.9: Tehran. Tehran. Imperial Bank of Iran. Staff of IBI." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Kutalipar Zan [Pass of the Old Woman] on Way to Persian Gulf [graphic]
FSA A.4 2.12.GN.30.10
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 30."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "The sky is covered with black paper. The area between the paper and the horizon line is filled with black ink (on the emulsion side)."
- Faded handwritten number (inked, probably by Antoin Sevruguin) reads, "891."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "143) Old road to Shimran." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 30.11: Tehran. Shimran. Old road to (# 143)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran), Kakh-i Gulistan (Gulistan Palace Complex), Talar-i Takht (Throne Room): Nasir Al-Din Shah Sitting on the Lower Step of Takht-I Tavoos or the Peacock Throne [graphic]
FSA A.4 2.12.GN.31.01
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 31."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The Shah is sitting on the lower step of Takht-i Tavoos or the Peacock Throne in the throne room of Kakh-i Gulistan. Nasir al-Din Shah's headgear is missing the royal emblem of the Qajar court. The negative of this image is present in the archives (31.1). A close comparison of the print and the negative shows that the framing of the image in the print is a bit closer to the figure of the Shah, eliminating part of the surrounding room. The overall impression of the scene in the print is therefore that of an intimate and informal encounter between the king and the photographer, much like many other images by Sevruguin (Nasir having his moustache dyed, Hunting with Malijak, patting Aqa khan Khaja's head, etc.) Takht-i Tavoos (Peacock Throne) is a later name of Takht-i Khurshid or the Sun Throne. Erroneously the name of the Throne as the peacock throne equated it with the famous Indian throne of Shah Jahan and Nadir's war booty from India, whereas Takht-i Khurshid - visible in this image - was ordered by Fath Ali Shah Qajar around 1800s and built by an Isfahani artist known as Haji Muhammad Hussayn Khan Sadr. The name of the throne changed to the Peacock Throne after Fath Ali Shah's marriage to Tavoos Khanum, his favorite wife. The marriage was celebrated on this particular throne. In the occasion of various royal celebration - such as Salam-i Nawruzi - the throne would be moved out of the palace and into the Iwan-i Dar al-Imara (later known as the hall of Takht-i Marmar or the marble throne) and would be the seating place of the Qajar kings of the time. The tight framing of the print as compared to the negative also eliminates the number that is that is visible in the negative." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "584."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "628."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 31.1: (P) [black-and-white print on hand]. Nasr-ud-Din Shah." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Albumen print numbered FSA A.15 01; available in Jay Bisno Collection of Sevruguin Photographs, 1969-1985.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Persepolis (Iran): Gate of All Lands, Colossal Sculptures Depicting Man-Bulls [graphic]
FSA A.4 2.12.GN.31.02
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 31."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Persepolis, general view of Darvaza-i Millal (Gate of All Nations) or Gate of Xerxes, with guardian man-bulls of eastern doorway. The photo is taken prior to the completion of the excavations as the base of the columns and the lower part of the entrance gate pillars are still hidden from the view." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "The image has a pinkish hue all over."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "140."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1613."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 31.2: Fars. Persepolis." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Qum (Iran): Bagh-i Gunbad-i Sabz: View of Four Seljuk Octogonal Brick Structures [graphic]
FSA A.4 2.12.GN.31.03
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 31."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "107."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1608."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "Imamzadeh at Qom." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 31.3: (P) [black-and-white print on hand]. Kum. Kum. Imamzadeh Hamsa and Sa'd." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.4 2.12.Sm.54; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): View from the Top of Darvaza Dawlat (Dawlat City Gate) [graphic]
FSA A.4 2.12.GN.31.04
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 31."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The structure dates to Nasir Al-Din Shah's time. After the expansion of Tehran, which started in 1867, six gates were added to the city walls of Tehran, one of the most elaborately designed one of which was Darvaza Dawlat. The gate was built in 1871 by Mohammad Rahim Khan 'Ala al-Dawla (Amir Nizam) and at least until the end of 1870s, it had the central archway facing the city and the goat heads of the central top piece on its other side, facing outside the city. During a reconstruction in 1880s the archway of the internal side, along with the goat-heads of the external side were removed. Located on the north side of the wall, Darvaza Dawlat, along with Shimiran and Yusif Abad Gates, marked the northern boundaries of the city. The view of all the gates usually differed from the side facing the city to the side facing the outside. Almost all of the twelve gates of the city were torn down during the later expansion of Tehran in 1930s.The photograph depicts the view outside the city walls of Tehran from atop the Dawlat gate. The brick wall that cuts through the foreground and ends in a half-circle in the mid-ground of the image is the remnants of the old walls of the city. On the far left side of the image a partial view of the Chiragh Gaz avenue and its gate can be viewed." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "207."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "1357."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "View of Teheran from Darvazeyi Daulat." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 31.4: Tehran. View from Darvayazi Dawlat." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Albumen print numbered FSA A.15 01; available in Jay Bisno Collection of Sevruguin Photographs, 1969-1985.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Province of Gilan (Iran): Rural Architecture along the Safi Rud, near Rasht [graphic]
FSA A.4 2.12.GN.31.05
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 31."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "160."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "14) Scene near Resht." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 31.5: Gilan. Resht. Scene near (# 14)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Group Portrait: May Day at Russian Embassy in Tehran (Iran) [graphic]
FSA A.4 2.12.GN.31.06
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 31."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "A layer of varnish covers the area where people are seated. Some the people's faces are also touched up. The touch ups are visible through the layer of varnish."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "17) Celebration of May Day at Russian Embassy in Teheran in 1926 or 1927. Beard in front row is the droshka driver of the Czarist ambassador. 2nd on right hand (as appears in negative) of Beard is director of Russian Bank. 3rd is interpreter or clerk. 4th is Russian consul Pleyst. end on left hand (as appears in engative) is Russian ambassador (Yurienev)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 31.6: Tehran. Celebration of May Day at Russian Embassy. 1926 or 1927." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Ardabil (Iran): Sheikh Safi al-din Khanegah and Shrine Ensemble: Exterior View of Sheikh Safi Tomb [graphic]
FSA A.4 2.12.GN.31.07
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 31."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Built between the beginning of the 16th century and the end of the 18th century, this place of spiritual retreat in the Sufi tradition uses Iranian traditional architectural forms to maximize use of available space to accommodate a variety of functions (including a library, a mosque, a school, mausolea, a cistern, a hospital, kitchens, a bakery, and some offices). It incorporates a route to reach the shrine of the Sheikh divided into seven segments, which mirror the seven stages of Sufi mysticism, separated by eight gates, which represent the eight attitudes of Sufism. The ensemble includes well-preserved and richly ornamented facades and interiors, with a remarkable collection of antique artefacts. It constitutes a rare ensemble of elements of medieval Islamic architecture." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "187."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "867."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "20) Tombeau de Sheikh." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 31.7: (P) [black-and-white print on hand]. Azarbaijan. Ardebil. Shrine of Sheikh Ishak Safi al Din. Facade." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.4 2.12.Sm.70; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
http://whc.unesco.org/en/list/1345
Damghan (Iran): Minaret of Masjid-i Juma (Friday Mosque) [graphic]
FSA A.4 2.12.GN.31.08
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 31."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The minaret, a distinctly Seljuk structure, was built around 1080 and is located on the northeast corner of the mosque. The diameter of the base of the minaret measure close to 14 meters gradually reducing as it rises twenty-seven meters off the ground to reach seven meters in diameter at the top. The three-iwan mosque has gone under extensive renovations in the later (Nasiri) Qajar period." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "The sky is covered with red paper. The area between the paper and the horizon line is filled with black ink."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "21) Tower in Damghan." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 31.8: (P) [black-and-white print on hand]. Khorazan. Damghan. Manor of masjid-Juma." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.4 2.12.Sm.70; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Pope, Arthur Upham. 1997. A Survey of Persian Art from Prehistoric Times to the Present. Tehran: Soroush Press, vol.III, p:1039
Persepolis (Iran): Gate of All Lands, Colossal Sculptures Depicting Man-Bulls [graphic]
FSA A.4 2.12.GN.31.09
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 31."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Takht-i Jamshid or Persepolis, Darvaza-i Milal (Gate of Nations) or Gate of Xerxes, with guardian bulls of western doorway." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "The sky is covered in red ink and the paint is applied meticulously. The glass is cut on the bottom and right sides."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "801."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 31.9: (P) [black-and-white print on hand]. Fars. Persepolis. Takht-i Jamshid." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.4 2.12.Sm.23; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Persepolis (Iran): Gate of All Lands, Colossal Sculptures Depicting Man-Bull (Sevruguin in White Coat) [graphic]
FSA A.4 2.12.GN.31.10
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 31."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Persepolis, general view of Darvaza-i Millal (Gate of All Nations) or Gate of Xerxes, with guardian man-bulls of eastern doorway. The left figure standing in front of the gate, in white coat, is the photographer Antoin Sevruguin." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "232."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1660."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 31.2: Fars. Persepolis. Takht-i Jamshid." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.6 04.05.v3.002; available in Ernst Herzfeld Papers, Series 4: Photographic Files, 1903-1947.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Bishapur (Iran): Sasanian Reliefs Showing Bahram II Receiving a Delegation: Detail View of Delegation Bringing Horses and Camels to the King [graphic]
FSA A.4 2.12.GN.31.11
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 31."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The event is generally accepted to be of Bahram II receiving gifts fro the defeated army of Arab nomads." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "830."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 31.11: (P) [black-and-white print on hand]. Fars. Shapur." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.4 2.12.Sm.12; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Gelatin silver print numbered FSA A.6 04.27.057; available in Ernst Herzfeld Papers, Series 4: Photographic Files, 1903-1947.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Georgina Herrman, Iranischer Denkmaler F, Bishapur
Sarre and Herzfeld, Iranische Felsrelief (1910)
Persepolis (Iran): Gate of All Lands (foreground) and Apadana (background) [graphic]
FSA A.4 2.12.GN.31.12
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 31."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "The sky is covered with black paper. The area between the paper and the horizon line is filled with black ink. The negative seems to be cleaned around the top edges of the columns and the horizon line."
- Handwritten number (inked, probably by Antoin Sevruguin) not readable.
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "655."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 31.12: Fars. Persepolis." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.6 04.05.v3.003a; available in Ernst Herzfeld Papers, Series 4: Photographic Files, 1903-1947.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Qajar Caravanserai with Crowd of People [graphic]
FSA A.4 2.12.GN.32.01
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 32."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "The sky is covered with black paper. The area between the paper and the horizon line is filled with black ink."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "610."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1125."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 32.1: Mosque" [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Mashad (Iran): Imam Reza Shrine Complex: Gawhar Shad Mosque [graphic]
FSA A.4 2.12.GN.32.02
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 32."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "The sky is covered with black paper. The area between the paper and the horizon line is filled with black ink."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "704."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1184."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 32.2: (P) [black-and-white print on hand]. Mosque" [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.4 2.12.Sm.53; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Unidentified Bridge [graphic]
FSA A.4 2.12.GN.32.03
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 32."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "Two pieces of paper is attached to the either side of the negative to cover the sky. The area between the paper and the horizon line is filled with black ink. The glass is cut on top and the two sides."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "231."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "438."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 32.3: Bridge." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Shepherd [graphic]
FSA A.4 2.12.GN.32.04
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 32."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "The sky is covered with brownish paper. The area between the paper and the horizon line is filled with black ink."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "506."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "772."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 32.4: Shepherd." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Albumen print numbered FSA A.4 2.12.Up.31; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Studio Portrait: Woman in European Dress [graphic]
FSA A.4 2.12.GN.32.05
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 32."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 32.5: Woman." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Group Portrait: Nasir Al-Din Shah in Village [graphic]
FSA A.4 2.12.GN.32.06
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 32."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "637."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1087."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 32.6: Hillside village." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Park-i Atabak: View of Pool and Gazebo [graphic]
FSA A.4 2.12.GN.32.07
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 32."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The park and palace of Atabak was built between 1886 and 1888 on the orders of Mirza Ali Asghar Khan, The second Amin al-Sultan and the chief minister of Nasir al-Din Shah. After Amin al-Sultan's assassination in 1907, the complex, which was a debt collateral with Russian Bank for discounted loans to Amin al-Sultan, was repossessed by the bank and used as the Russian Embassy." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "436."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 32.7: Garden and pool." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Royal Encapment [graphic]
FSA A.4 2.12.GN.32.08
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 32."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Based on the diaries of Nasir Al-Din shah, the hunting camps close to Tehran can be identified as Tange Soloqan and Kan village." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "635."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 32.8: Campsite." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Unidentified Building [graphic]
FSA A.4 2.12.GN.32.09
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 32."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is broken. The lower left corner is missing."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 32.9: House." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Bridge across the Shah Rud [graphic]
FSA A.4 2.12.GN.32.10
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 32."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "The water in the river is touched up with thin black lines that take the shape of ripples on the water."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "720."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 32.10: (Faded)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Shushtar (Iran): View of the Town with Karun River in the Foreground [graphic]
FSA A.4 2.12.GN.32.11
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 32."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "The sky is covered with black paper. The area between the paper and the horizon line is filled with black ink."
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is broken. The lower right corner is missing."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "810."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 32.11: Hillside building complex (chipped)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Unidentified Village with Caravanserai in Background [graphic]
FSA A.4 2.12.GN.32.12
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 32."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "500."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1684."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 32.12: Village." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Encapment and Village in the Mountains [graphic]
FSA A.4 2.12.GN.33.01
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 33."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "The sky is covered in red ink."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "292."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 33.1: Campsite." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Bridge across the Harajun River [graphic]
FSA A.4 2.12.GN.33.02
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 33."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "The sky is covered in both red and black ink. Red ink is put on the emulsion side and black ink on the back of the negative."
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is broken. The lower right corner is missing."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "190."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 33.2: Fars. Harajvin River. Bridge." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Unidentified Road [graphic]
FSA A.4 2.12.GN.33.03
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 33."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is broken. Portion of the right side is missing."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "113."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 33.3: (P) [black-and-white print on hand]. Tehran. Avenue Alla es Douleh." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Seaside Palace Complex [graphic]
FSA A.4 2.12.GN.33.04
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 33."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "700."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "784."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 33.4: Seaside town." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Qazvin (Iran) :Rear View of Friday Mosque (Masjid-i Jami'-i Qazvin) [graphic]
FSA A.4 2.12.GN.33.05
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 33."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The structure dates back to 807 A.D. with the later Seljuk additions of the two iwans in the northern side and the twelfth century construction of the prayer hall, dome, courtyard, and the religious school. Later additions include the Safavid (1501-1732) addition of the southern and western iwans and arcades and the Qajar (1779-1924) expansion of the whole structure. The courtyard of the mosque - as one of the largest one of its kind in Iran - measures around 4000 square meters. the photo depicts the structure from the rooftops of the houses on its north side. The northern iwan an its minarets stand along the north-south axis of the structure and in front of the dome." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "The sky is covered with black paper. The area between the paper and the horizon line is filled with black ink. The ink is applied with meticulous attention to detail of the horizon."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "167."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "476."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 33.5: (P) [black-and-white print on hand]. Mosque." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.4 2.12.Sm.61; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Gate and Outpost Building [graphic]
FSA A.4 2.12.GN.33.06
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 33."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is glued to another piece of glass on the back. Both pieces of glass have numerous cracks all over."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "302."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) not readable.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 33.6: Toll gate." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Vicinity of Persepolis and Naqsh-i Rustam (Iran): Caravanserai (?) [graphic]
FSA A.4 2.12.GN.33.07
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 33."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "The sky is covered with brownish paper. The area between the paper and the structure is filled with black ink. The photographer has meticulously darkened various areas in the foreground and the top of the walls of the structure."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "868."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1691."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 33.7: Fortress." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Kakh-i Gulistan (Gulistan Palace Complex): Nadir Throne [graphic]
FSA A.4 2.12.GN.33.08
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 33."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The throne visible in the image is what is commonly referred to as Nadiri Throne. The construction of the throne, however, is firmly attributed to Fath Ali Shah Qajar (1798-1834), as the inscriptions around the base of the throne make explicit. The throne is inlaid with 26,733 gems and its measurements are as followed: 98 centimeters long, 96 centimeters broad, 117 centimeters to the arm-set and 217 centimeters at the back. For ease of movement, the throne was originally built in 12 separate pieces to be assembled and dis-assembled when needed. The pieces are all covered in sheets of gold and inlaid with precious stones, consisting - mostly - of emeralds and rubies." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "The image seems to be a copy print of another photo."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "258."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) not readable.
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "285) Summer residence." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 33.8: Summer residence. Throne." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Albumen print numbered FSA A.15 01; available in Jay Bisno Collection of Sevruguin Photographs, 1969-1985.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
The Crown Jewels of Iran, Tehran: Bank Markazi Iran, 1973, p:18-20
North of Tehran (Iran): Garden at Shimiran [graphic]
FSA A.4 2.12.GN.33.09
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 33."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "298."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "354."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "254) Shimran." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 33.9: Landscape." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Unidentified Caravanserai [graphic]
FSA A.4 2.12.GN.33.10
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 33."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "228."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1679."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 33.10: Caravanserai (?)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Photograph of a Painting of a Man on an Animal Skin [graphic]
FSA A.4 2.12.GN.33.11
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 33."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 33.11: Painting." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Small Building with Conical Roof [graphic]
FSA A.4 2.12.GN.34.01
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 34."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "The sky is covered with green paper. The area between the paper and the structure is filled with black ink. The negative has a brownish yellow hue all over, The negative has been chopped off on top and the two sides. Traces of ink is visible on the top edge of the mountain range on the right."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "282."
- Scratched handwritten number (inked) reads, "754."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 34.1: Conical Tomb." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Village with Leaps of Dry Leaves on Houses' Rooftops [graphic]
FSA A.4 2.12.GN.34.02
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 34."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "289."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "485."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 34.2: (Faded)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Mountain Pass [graphic]
FSA A.4 2.12.GN.34.03
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 34."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "144."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 34.3: Mountains." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Men Walking along a Road [graphic]
FSA A.4 2.12.GN.34.04
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 34."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 34.4: Desert Road." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Khiaban-i Ala al-Dawla (Firdawsi Avenue) [graphic]
FSA A.4 2.12.GN.34.05
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 34."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "100."
- Faded handwritten number (inked, probably by Antoin Sevruguin) reads, "485."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 34.5: Park." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Albumen print numbered FSA A.4 2.12.Up.26; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Isfahan (Iran): Masjid-i Shaykh Lutfallah (Shaykh Lutfallah Mosque) on the East Side of Maidan-i Shah (Naqsh-e Jahan) [graphic]
FSA A.4 2.12.GN.34.06
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 34."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "405."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "246) Majid Sheikh Lutfullah." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 34.6: Horse Riders." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Craftmen Producing Overglaze Painted Tileworks [graphic]
FSA A.4 2.12.GN.34.07
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 34."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"From the motifs of the tiles one can guess that they are most probably intended to secular/residential decoration. On the right side of the photo's mid-ground a group of musicians are accompanying the performance of a dancing figure." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "590."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1962."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "247) Making tiles (painting)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 34.7: Painting tiles (# 247)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Musical Instruments on Display [graphic]
FSA A.4 2.12.GN.34.08
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 34."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "A crack goes right through the middle of the glass. The emulsion seems to be attached."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "705."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "374."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "248) Musical instruments." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 34.8: Musical instruments (# 248)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Lustre-Painted Ceramic Dish [graphic]
FSA A.4 2.12.GN.35.01
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 35."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The photo is of a stone-paste dish painted over glaze with luster, attributed to Kashan (Iran) of 1210 and in the Seljuq period. One of the inscriptions records that the plate was made by Shamsuddin al-Hasani Abu Zayd, an accomplished potter of the early thirteenth century. It is currently in collection of Freer|Sackler, the Smithsonian's museums of Asian art (F1941.11)." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is broken with portions of the glass missing."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 35.1: Unknown, cracked." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Glass negative numbered FSA A.4 2.12.Sm.88; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Qum (Iran): Hazrat-i Ma'suma Shrine Complex [graphic]
FSA A.4 2.12.GN.35.02
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 35."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The initial construction on the site of the holy shrine - with an octagonal plan - in Qum dates back to 13th century. In addition to northward expansion of the whole complex, the original octagonal dome was also modified into a round structure in the earlier years of Safavid dynasty. The southwest corner of the structure houses the tombs of more than a few of Safavid kings, including Shah Sultan Hussayn and Shah Safi. In the 1880s, the new courtyard to the shrine was ordered by Amin al-Sultan, during which the two grand minarets of the western iwan and the two smaller minarets of the entrance were also added to the complex. The golden dome is dated back to Fath Ali Shah-I Qajar, which is consistent with the other restorations to religious buildings of the time. The photograph depicts the area beyond the western entrance to the shrine. Two tents are set up in the area, which could be of the visitors to the shrine." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is broken with portions of the glass missing."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "66."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 35.2: Unknown, cracked." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.4 2.12.Sm.58; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Sayyid Mohammad Taqi Motafavi, Asar-I Tarikhi-I Tehran: Amakin-I Mutibarraka, Tehran: Anjuman-I Asar-I Milli, 1982, p:423-425
Rayy (Iran): Chasman-i-ali Mound: Qajar Rock Relief Depicting Fath Ali Shah [graphic]
FSA A.4 2.12.GN.35.03
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 35."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The image is of a rock relief of Qajar period on route from Tehran to Chishma Ali, one of the Qajar kings' favorite camping spots. The relief echoes the Sassanian tradition of depicting their kings in the rock relief. The relief includes two sets of inscriptions: a qasida by Andalib and verses by the head of the chancellery, Mirza Muhammad Taqi Aliabadi (Sahib-i Divan). The relief was ordered in 1830-1831, probably by Fath Ali Shah and it depicts Fath Ali Shah, seating on what appears to be the peacock throne, surrounded by sixteen of his sons, the name of each of which is inscribed beside the carved heads. Fath Ali Shah Qajar was the second king of Qajar dynasty in Iran that rulled the country for around 37 years (1797-1834). He was born to Aqa Mohammad Khan Qajar's brother and since Aqa mohammad Khan did not have a child, Fath Ali shah assumed the position of the king upon his death. There is another image of the same relief - from a different angle and showing a bit more detail - in the archives (Neg.0.11). Unlike the other one, however, this image depicts a group of local and non-local visitors to the site. The three men on the left side of the image seem to be foreign travellers, most probably accompanied by a translator - standing on the far left - and a group of local guides/attendants." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is broken with portions of the glass missing."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1333."
- Faded handwritten number (inked, probably by Antoin Sevruguin) not readable.
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "Chashmiyi Ali at Shah Abdul Azim." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 35.3: Unknown, cracked." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
J. P. Luft, The Qajar Rock Reliefs, Iranian Studies, Vol. 34, No. 1/4, p:33
Isfahan (Iran): Qasr-i Chihil Sutun (Forty-Columns Palace): View from Inside the Terrace [graphic]
FSA A.4 2.12.GN.35.04
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 35."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The palace, located inside the garden complex of Chihil Sutun, was built on the orders of Shah Abbas I (b.1571-d.1621) and heavily expanded during the reign of Shah Abbas II (b.1643-d.1666). The name of the palace - 'forty columns' - derives not from the actual number of columns in the palace's deep front balcony, but commonly refers to the number of the columns and their reflections in the front pool. The palace also houses one of the largest collections of Iranian mural paintings. Judging by the state of the pool n front of the building, the photo must have been taken on a date other the other ones. The poses of four of the attendants seemed to be strikingly identical." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is broken with portions of the glass missing."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "899."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) not readable.
- Faded handwritten number (inked, probably by Antoin Sevruguin) not readable.
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "276-278) Chihil Situn isfahan." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 35.4: Unknown, cracked." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Kakh-i Gulistan (Gulistan Palace): View of the Garden [graphic]
FSA A.4 2.12.GN.35.05
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 35."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is broken."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "89."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1798."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "256) Baghi Atabeg." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 35.5: Unknown, cracked." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Michael Myers Shoemaker, The Heart of the Orient, New York: The Knickerbockers Press, 1904, p:133.
Province of Fars (Iran): Yazd-i Khast or Izad-Khast Complex [graphic]
FSA A.4 2.12.GN.35.06
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 35."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"This complex contains the castle of Izad-khast(from Sassanid period), a caravanserai and a bridge of Safavid times. The works inside of the castle belong to different periods from Sassanids to Qajars. The castle of Izad-khast, built on a rock bed, has been resistant to decay and destruction because of its natural base. The photo depicts the structure from the side, presenting its overall size and extension into space. Also, since the point of view of the camera is on a lower ground than the base of the structure, the building appears grander and more imposing in space. Unlike other images of the same structure, this one shows the top of the a mud wall around the structure." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "The area between the paper and the horizon line is filled with black ink. The glass negative is broken with lower right corner missing."
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is broken with lower right corner missing."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "387."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 35.6: Unknown, cracked." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Naqsh-i Rustam (Iran): View of the Sacred Precinct with Achaemenid Tombs and Sasanian Rock Reliefs Carved into the Husain Kuh Cliff [graphic]
FSA A.4 2.12.GN.35.07
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 35."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The tombs depicted in the image are (from right to left of the photo): Tomb facades of Darius I, Artaxerxes, and Darius II." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "The area between the paper and the horizon line is filled with black ink."
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is broken with portion of the left side missing."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "828."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1658."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 35.7: Unknown, cracked." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Naqsh-i Rustam (Iran): Fire Altars [graphic]
FSA A.4 2.12.GN.35.08
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 35."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Naqsh-i Rustam, Open-Air fire altars, Western End of the site. The Negative is broken on both sides. The negative is related to 39.4. The arrangement of shadows and the position of the camera is identical in both images, suggesting that they are variation of the same photo on the same day. Unlike 39.4, this image does not include the figure of the bystander, commonly used in archeological photography for the purpose of sizing." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is broken with portion of the upper right side missing."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "571."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 35.8: Unknown, cracked." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Persepolis (Iran): Tachara Palace (Palace of Darius) [graphic]
FSA A.4 2.12.GN.35.09
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 35."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "894."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1321."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 35.9: Unknown, cracked." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.4 2.12.Sm.25; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Kakh-i Gulistan (Gulistan Palace Complex), Talar-i Salam or Talar-i Takht (Throne Room): Takht-I Tavoos or the Peacock Throne [graphic]
FSA A.4 2.12.GN.35.10
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 35."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The photograph depicts the famous Peacock throne of Gulistan palace in the throne room or Talar-i Salam. Takht-i Tavoos (Peacock Throne) is a later name of Takht-i Khurshid or the Sun Throne. Erroneously the name of the Throne as the peacock throne equated it with the famous Indian throne of Shah Jahan and Nadir's war booty from India, whereas Takht-i Khurshid - visible in this image - was ordered by Fath Ali Shah Qajar around 1800s and built by an Isfahani artist known as Haji Muhammad Hussayn Khan Sadr. The name of the throne changed to the Peacock Throne after Fath Ali Shah's marriage to Tavoos Khanum, his favorite wife. The marriage was celebrated on this particular throne. In the occasion of various royal celebration - such as Salam-i Nawruzi - the throne would be moved out of the palace and into the Iwan-i Dar al-Imara (later known as the hall of Takht-i Marmar or the marble throne) and would be the seating place of the Qajar kings of the time.Talar-I Takht or Throne room of Gulistan palace housed the famous Peacock throne and was the offical reception room of the palace. Located on the northwest side of the complex, the room was initially designed as a museum but was later known for its primary use as the official reception room of the palace. The construction of the new complex and the throne room staretd in 1874 and concluded two years later in 1876. It was then decorated with the extensive collection of foreign gifts and local/Iranian artefacts of the palace. The room is currently used as a museum as well." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "303."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "637."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 35.10: Unknown, cracked." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Glass negative numbered FSA A.4 2.12.GN.37.10; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Persepolis (Iran): Great Stairway to the Terrace Complex [graphic]
FSA A.4 2.12.GN.35.11
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 35."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is cracked."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1664."
- Faded handwritten number (inked, probably by Antoin Sevruguin) reads, "82."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 35.11: Unknown, cracked." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Glass negative numbered FSA A.4 2.12.GN.40.11; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Interior of British Embassy [graphic]
FSA A.4 2.12.GN.36.01
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 36."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "28) Interior of British Embassy." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 36.1: Tehran. British Embassy. Interior. (# 28)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Maydan-i Mashq (Shooting Range): Entrance Portal [graphic]
FSA A.4 2.12.GN.36.02
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 36."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "111."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1113."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "98) Gate of Makhsh Maidan." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 36.2: Tehran, Makhah-Maidan (# 98)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Maydan-i Mashq (Military Training Square), Qazaqkhana (Military Center) [graphic]
FSA A.4 2.12.GN.36.03
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 36."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "124."
- Currently the Central Building at Tehran University of Art
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "96) Barracks in Teharan." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 36.3: Tehran, Barracks (96)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
River Gorge [graphic]
FSA A.4 2.12.GN.36.04
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 36."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "438."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "749."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 36.4: River gorge." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Unidentified Bridge [graphic]
FSA A.4 2.12.GN.36.05
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 36."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "626."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "489."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 36.5: (faded) Bridge." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Hamadan (Iran): Gunbad-i Alaywian: View of Mausoleum's Northeast Facade [graphic]
FSA A.4 2.12.GN.36.06
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 36."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Presumably a mausoleum, the structure dates to the late 12th century - Seljuq - times. More recently, the new date of early fourteenth century is suggested for the structure. The photo depicts the entrance to the structure, apparently sealed, with a figure standing beside it. The figure would provide a sense of scale, which in the case of this image is the feature of the building in photographer's focus." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "468."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 36.6: Mosque. Entrance." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.4 2.12.Sm.50; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Arthur Upham Pope, A Survey of Persian Art: From Prehistoric Times to the Present, Volume VIII, London: Oxford University Press, 1964
Bistam (Iran): Mausoleum Complex of Sheikh Bayezid Bastami: Seljuk Minaret on the Foreground [graphic]
FSA A.4 2.12.GN.36.07
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 36."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "192."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "335."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 36.7: Khorasan. Bastam. Conical tomb tower." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.4 2.12.Sm.79; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Ardabil (Iran): Sheikh Safi al-din Khanegah and Shrine Ensemble [graphic]
FSA A.4 2.12.GN.36.08
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 36."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Shaykh Abu'l-Fath Ishaq, known as Safi al-Din Ardabili (b. 1252/3), is the eponymous founder of the Safawiyya order of Sufiism and is hence considered the founder of the Safavid Dynasty. Upon his death in 1334, he was buried in a tomb tower adjoining his khanqah outside the city walls of Ardabil. His burial site became a center of pilgrimage soon after, one richly endowed by Safavid rulers, many of whom were also buried there. The photo depicts the right side of the entrance gate to Jannatara, with the Chilla-khana wall to its right. Chilla-Khana served both as a hostel and a trading centre, built around the shrine in earlier years of 15th century. The image is most probably a copy print." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "274."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "1035."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 36.8: Azerbaijan. Ardebil. Shrine of Shaikh Safi-al Din. Mihrab." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.4 2.12.Sm.45; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Unidentified Caravanserai [graphic]
FSA A.4 2.12.GN.36.09
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 36."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The building is most probably a caravanserai. The landscape and the structure suggest that it might have been located outside Iran (maybe Iraq)." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Faded handwritten number (inked, probably by Antoin Sevruguin) reads, "212."
- Two handwritten numbers (inked, probably by Antoin Sevruguin) not readable.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 36.9: Caravanserai." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Qum (Iran): Hazrat-i Ma'suma Shrine Complex (Shrine of Fatima al-Ma'suma) [graphic]
FSA A.4 2.12.GN.36.10
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 36."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 36.10: Mosque. Iwan." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Portrait of Prince Abu'lfat'h Mirza Salar al-Dawla [graphic]
FSA A.4 2.12.GN.36.11
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 36."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"He is Muzaffar al-Din Shah's son and was appointed as the governor of Kermanshah in 1897. He was later removed from his post as the governor of Kermanshah due to people's dissatisfaction with his rule. Salar al-Dawla was later appointed to the government of Zanjan, Khuzestan, Bakhtiari and Brujird. After an unsuccessful coup against his brother - the crown prince Muhammad Ali Shah - in 1929 he was arrested and brought to Tehran. After many unsuccessful attempt to replace his brother as the next Qajar king, he fled to Europe and stayed there until his death in 1958." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "69."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "601."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 36.11: Shah." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Mahdi Bamdad, Sharh-i Hal-i Rijal-i Iran dar Qarn-i 12,13,14 Hijri, Tehran: Intisharat-i Zavvar (Zavvar Publishing): 1992, Vol. 1, p:48-51
Unidentified Building Complex [graphic]
FSA A.4 2.12.GN.36.12
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 36."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The building is most probably a caravanserai. The landscape and the structure suggest that it might have been located outside Iran (maybe Iraq)." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1683."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "76) Makhsh Maidan in Teheran." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 36.12: Caravanserai." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Photograph of a Painting Depicting Rustam Mourning the Killing of (his Son) Suhrab [graphic]
FSA A.4 2.12.GN.36.13
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 36."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The photo depicts a painting of the scene of Suhrab dying in the arms of his father, Rustam, with his father's dagger piercing his heart. The painting depicts one of the most famously dramatic scenes of Ferdowsi's Shahnama in which the father and son go into a battle against one another, ultimately the father killing the son and mourning his death afterwards. The painting is signed on the left side with what seems to be the first four letters of 'Sevruguin'. As such either Antoin or Andre Sevruguin could be its creator. Andre Sevruguin, Antoin Sevruguin's son, was later known as Dervish, becoming one of the promising painters of Iran during Riza Shah's reign. He subsequently left Iran for Germany and took many of his paintings with him." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 36.13: Painting." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Studio Portrait: Nestorian Christian Family [graphic]
FSA A.4 2.12.GN.36.14
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 36."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is broken. Portions of the bottom side are missing."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "359."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "136) Armenians from Salmas." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 36.14: Armenians from Salmas (cracked)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Baghdad (Iraq): Mashhad al-Kazimiya [graphic]
FSA A.4 2.12.GN.37.01
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 37."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The Shrine was repaired on the order of Nasir Al-Din Shah Qajar after his first trip to the site in 1873." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "663."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "734."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "78) Kazemain ??." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 37.1: Kazemain. Mosque (late) (# 78)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.4 2.12.Sm.62; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Man buried in sand [graphic]
FSA A.4 2.12.GN.37.02
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 37."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "512."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1131."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "134) Execution of a thief in gateh." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 37.2: Execution of a thief in gach (# 134)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Albumen print numbered FSA A.15 16; available in Jay Bisno Collection of Sevruguin Photographs, 1969-1985.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Wrestlers Training in front of Small Crowd [graphic]
FSA A.4 2.12.GN.37.03
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 37."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is broken. Portions of the left corner are missing."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "898."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "664."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "132) Persian Athletes." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 37.3: Persian athletes (# 132)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Studio Portrait: Woman in Traditional Zoroastrian Dress [graphic]
FSA A.4 2.12.GN.37.04
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 37."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "82) Zoroastrian Costume." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 37.4: Zoroastrian costume (# 82)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Girls Weaving a Carpet [graphic]
FSA A.4 2.12.GN.37.05
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 37."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "472."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 37.5: Rug weaving (# 129)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Iraj Afshar, Ganjina'i Aksha-i Iran, 1984, p:284
Portrait of a Kurdish Woman [graphic]
FSA A.4 2.12.GN.37.06
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 37."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "473."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "84) Kurdish woman." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 37.6: Kurdish woman (# 84)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Qum (Iran): Hazrat-i Ma'suma Shrine Complex: Elevated View of the New Court, looking towards the East Iwan [graphic]
FSA A.4 2.12.GN.37.07
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 37."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The initial construction on the site of the holy shrine - with an octagonal plan - in Qum dates back to 13th century. In addition to northward expansion of the whole complex, the original octagonal dome was also modified into a round structure in the earlier years of Safavid dynasty. the southwest corner of the structure houses the tombs of more than a few of Safavid kings, including Shah Sultan Hussayn and Shah Safi. In the 1880s, the new courtyard to the shrine was ordered by Amin al-Sultan, during which the two grand minarets of the western iwan and the two smaller minarets of the entrance were also added to the complex. The golden dome is dated back to Fath Ali Shah-I Qajar, which is consistent with the other restorations to religious buildings of the time. The vantage point of the photo indicates that the photographer is standing atop the front gate entrance looking back at the court. The figure leaning on one of the minarets on the facing gateway seems to mirror the placement of the photographer on the other side." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "892."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "230."
- Faded handwritten number (inked, probably by Antoin Sevruguin) reads, "N 83."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "81) Mashad." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 37.7: (P) [black-and-white print on hand]. Mashhad (?) (# 18)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Information from the website of Dayirat al-Ma'arif-I Buzurg-I Islami (The Great Encyclopedia of Islam): http://www.cgie.org.ir/shavad.asp?id=130&avaid=203
Sayyid Mohammad Taqi Motafavi, Asar-I Tarikhi-I Tehran: Amakin-I Mutibarraka, Tehran: Anjuman-I Asar-I Milli, 1982, p:423-425
Green Grocers [graphic]
FSA A.4 2.12.GN.37.08
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 37."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is broken. Portion of the left corner is missing."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "299."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "130) Baggali (Green grocer?)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 37.8: Beggali (green grocers) (# 130)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Iraj Afshar, Ganjina'i Aksha-i Iran, 1984, p:284
Silk Weaving [graphic]
FSA A.4 2.12.GN.37.09
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 37."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is broken. Portions of the left corner are missing."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "592."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "686."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "131) Silk weaving." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 37.9: Silk weaving (yellow + chipped) (# 131)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Iraj Afshar, Ganjina'i Aksha-i Iran, 1984, p:284
Tehran (Iran): Kakh-i Gulistan (Gulistan Palace Complex), Talar-i Salam or Talar-i Takht (Throne Room): Takht-I Tavoos or the Peacock Throne [graphic]
FSA A.4 2.12.GN.37.10
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 37."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The photograph depicts the famous Peacock throne of Gulistan palace in the throne room or Talar-i Salam. Takht-i Tavoos (Peacock Throne) is a later name of Takht-i Khurshid or the Sun Throne. Erroneously the name of the Throne as the peacock throne equated it with the famous Indian throne of Shah Jahan and Nadir's war booty from India, whereas Takht-i Khurshid - visible in this image - was ordered by Fath Ali Shah Qajar around 1800s and built by an Isfahani artist known as Haji Muhammad Hussayn Khan Sadr. The name of the throne changed to the Peacock Throne after Fath Ali Shah's marriage to Tavoos Khanum, his favorite wife. The marriage was celebrated on this particular throne. In the occasion of various royal celebration - such as Salam-i Nawruzi - the throne would be moved out of the palace and into the Iwan-i Dar al-Imara (later known as the hall of Takht-i Marmar or the marble throne) and would be the seating place of the Qajar kings of the time.Talar-I Takht or Throne room of Gulistan palace housed the famous Peacock throne and was the offical reception room of the palace. Located on the northwest side of the complex, the room was initially designed as a museum but was later known for its primary use as the official reception room of the palace. The construction of the new complex and the throne room staretd in 1874 and concluded two years later in 1876. It was then decorated with the extensive collection of foreign gifts and local/Iranian artefacts of the palace. The room is currently used as a museum as well. The photo seems to be a duplicate of Neg. 35.10." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is broken. Portions of the right corner are missing."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "637."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "133) Peacock throne." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 37.10: Peacock throne (chipped) (#133)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Glass negative numbered FSA A.4 2.12.GN.35.10; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Portrait of a Rabbi [graphic]
FSA A.4 2.12.GN.37.11
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 37."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is broken. Portions of the left upper corner are missing."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "505."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1290."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "135) A Jewish rabbi." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 37.11: A Jewish rabbi (cracked and chipped) (# 135)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Darvaza Dawlat Gate, Northeast City Gate, with Alborz Mountain Range in Background [graphic]
FSA A.4 2.12.GN.37.12
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 37."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The structure dates to Nasir Al-Din Shah's time. After the expansion of Tehran, which started in 1867, six gates were added to the city walls of Tehran, one of the most elaborately designed one of which was Darvaza Dawlat. The gate was built in 1871 by Mohammad Rahim Khan 'Ala al-Dawla (Amir Nizam). and at least until the end of 1870s, it had the central archway facing the city and the goat heads of the central top piece on its other side, facing outside the city. During a reconstruction in 1880s the archway of the internal side, along with the goat-heads of the external side were removed. Located on the north side of the wall, Darvaza Dawlat, along with Shimiran and Yusif Abad Gates, marked the northern boundaries of the city. The view of the gates usually differed from the side facing the city to the side facing the outside. Almost all of the twelve gates of the city were torn down during the later expansion of Tehran in 1930s. The photograph depicts the gate in the background of piles of stone and herds of sheep immediately outside the city of Tehran." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is broken. Portions of the left bottom corner are missing."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "98."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1411."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "138) Darvazeyi Dowleh." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 37.12: Tehran. Darwazeyi Dowlati (# 217)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Group Portrait: Men at Bazaar [graphic]
FSA A.4 2.12.GN.37.13
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 37."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "397."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 37.13: Group of people." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Unidentified Village [graphic]
FSA A.4 2.12.GN.37.14
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 37."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is broken. Portions of the left and right corner are missing."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "735."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1089."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 37.14: View of town (chipped) (# 217)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Persepolis (Iran): Tripylon (Council Hall), Main Hall, West Jamb of Southern Doorway: View of Relief Picturing King and Attendants [graphic]
FSA A.4 2.12.GN.38.01
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 38."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "573."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "348."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 38.1: (P) [black-and-white print on hand]. Fars; Persepolis (Takht-i Jamshid. Pillar." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.4 2.12.Sm.26; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Gelatin silver print numbered FSA A.6 04.05.v3.006; available in Ernst Herzfeld Papers, Series 4: Photographic Files, 1903-1947.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Sarre and Herzfeld, Iranische Felsreliefs, Berlin, 1910. p:133-147
Bishapur (Iran): Sasanian Reliefs Depicting the Investiture of Shapur I: Detail View of Roman Emperor Philip the Arab Kneeling and the Trampled Bodies of Two Defeated Enemies: One is the Roman Emperor Gordian III (L) and the Other is Angra Mainyu (R) [graphic]
FSA A.4 2.12.GN.38.02
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 38."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is cracked."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) not readable.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 38.2: Fars. ? Relief (cracked)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Sarre and Herzfeld, Iranische Felsreliefs, Berlin, 1910. p:221.
Persepolis (Iran): Gate of All Lands, Colossal Sculptures Depicting Heads of a Bull [graphic]
FSA A.4 2.12.GN.38.03
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 38."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "The sky is cleaned up."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "819."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1661."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 38.3: (P) [black-and-white print on hand]. Fars; Persepolis (Takht-i Jamshid). Columns + pillars." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.4 2.12.Sm.24; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Gelatin silver print numbered FSA A.6 04.05.v3.004; available in Ernst Herzfeld Papers, Series 4: Photographic Files, 1903-1947.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Naqsh-i Rustam (Iran): Ka'ba i Zardusht Tower as well as Achaemenid Tomb and Sasanian Rock Reliefs in Background [graphic]
FSA A.4 2.12.GN.38.04
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 38."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is broken with portion of the right upper corner missing."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "823."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1652."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 38.4: Fars; Naksh-i Rustam. Square tower (cracked)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Bishapur (Iran): Sasanian Reliefs Depicting the Triumph of Shapur I over Valerian with Groups of Cavalry and Infantry Saluting the King [graphic]
FSA A.4 2.12.GN.38.05
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 38."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "597."
- Faded handwritten number (inked, probably by Antoin Sevruguin) reads, "133."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 38.5: (P) [black-and-white print on hand]. Fars. ? Relief." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.4 2.12.GN.38.05; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Sarre and Herzfeld, Iranische Felsreliefs, Berlin, 1910. p:222.
Naqsh-i Rustam (Iran): Sasanian Reliefs Depicting the Triumph of Shapur I over Valerian, and Middle Persian Inscription of the High Priest Kartir (Antoin Sevruguin in Foreground) [graphic]
FSA A.4 2.12.GN.38.06
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 38."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is broken with portion of the left bottom corner missing."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "236."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1657."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "236) Antoine Sevruguin in foreground." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 38.6: (P) [black-and-white print on hand]. Fars; Naksh-i Rustam. Relief, Sevrugian in Foreground (chipped)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.4 2.12.Sm.13; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Persepolis (Iran): Apadana, North Side, East Wing of Ceremonial Stairway with Reliefs Depicting Tribute Procession [graphic]
FSA A.4 2.12.GN.38.07
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 38."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "619."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "319."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 38.7: Fars; Persepolis (Takht-i Jamshid). Reliefs + Columns (chipped)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Persepolis (Iran): Northern Wall of the Throne Hall (Talar-i Takht) [graphic]
FSA A.4 2.12.GN.38.08
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 38."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is broken with portions of both upper corners missing."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "818."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "732."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 38.8: (P) [black-and-white print on hand]. Fars; Persepolis (Takht-i Jamshid). Reliefs + Columns (chipped)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.4 2.12.Sm.22; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Gelatin silver print numbered FSA A.6 04.05.v3.009; available in Ernst Herzfeld Papers, Series 4: Photographic Files, 1903-1947.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Naqsh-i Rustam (Iran): Achaemenid Tomb of Darius I (foreground) and Xerxes (background) [graphic]
FSA A.4 2.12.GN.38.09
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 38."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "598."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1653."
- Faded handwritten number (inked, probably by Antoin Sevruguin) reads, "165."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 38.9: (P) [black-and-white print on hand]. Fars; Naksh-i Rustam. Relief." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.4 2.12.Sm.10; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Naqsh-i Rustam: Sacred Precinct with Achaemenid Tombs and Sasanian Rock Reliefs Carved into the Husain Kuh Cliff [graphic]
FSA A.4 2.12.GN.38.10
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 38."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is broken with portions of the upper right corner missing."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "171."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 38.10: (P) [black-and-white print on hand]. Fars; Naksh-i Rustam. Relief (chipped)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.4 2.12.Sm.08; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Naqsh-i Rajab (Iran): Sasanian Rock Relief (Relief IV) Picturing High Priest Kartir and Middle Persian Inscription [graphic]
FSA A.4 2.12.GN.38.11
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 38."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
""I, Kartir, am known in the empire for righteousness and eminence, and known to have been of good service and good will to the Yazads and lords. Further I to the Yazads ward this also thus promised, that, if by the help of the Yazads I, Kartir, for the living upon highest rank were made to look then also by me further to the departed ward of heaven and hell the essential features would be outlined (or proclaimed or enlarged) for the sake, also, of these divine services as within the empire they are performed, for the sake of these also. Further, of whatever kind they may be, that were to be outlined by me by way of becoming more authoritative, and that thus, as I had promised to the Yazads. Further by me those which were established, even thus as by me it (was to be done for) heaven and hell, for these services also orthodoxy and heterodoxy (in) their essential features were (to be) outlined. Now for me then, when by the help of the Yazads this also was established, to the departed ward this thus was outlined, then (to) the Yazads of much better service and will have I become. And for my own soul I have become more provident and quiet. And also on these offerings and services which within the empire are performed much more authoritative have I become. And whosoever sees this inscription and reads it, that one for Yazads and lords and his own soul straight and right let him be. And beyond this, also, in the offerings and services and the Mazdayasnian religion, which is now performed for the living, let him become more authoritative. Now another matter; not everyone may issue a command at will. Let it be known what I have decided: There is a heaven and there is a hell. And whoever is a well doer shall go straight to heaven. And whoever is a sinner shall be cast down to hell. And whoever is a well doer and after well doing persistently runs, this one (in) this bone-endowed body good fame and prosperity shall attain and also (in) this bone-endowed spirit orthodoxy shall (he) overtake, as I, Kartir, have attained. Now I have written this inscription for this purpose, that since for me, Kartir, from of yore onward by rulers and lords many fires with (their) magi by imperial deeds were instituted and for me the great glory of my own name on imperial deeds and documents stands written, that whoever in future time imperial documents or deeds or other inscriptions may see, that one should know, that I am Kartir, who (under) Shapur, King of Kings, Kartir the Magupat [Magus-master] and Ehrpat was entitled; and under Hormizd, King of Kings, and Varahran, King of Kings, son of Shapur, Kartir, Ahura Mazda's Magupat was entitled; and under Varahran, [King of] Kings, son of Varahran, Kartir, Soul-savior of Varahran and Ahura Mazda's Magupat was entitled. Written by Buhtak, scribe of Kartir, the Lord."." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "51."
- Faded handwritten number (inked, probably by Antoin Sevruguin) reads, "821."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 38.11: (P) [black-and-white print on hand]. Fars; Naksh-i Rajab. Relief." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.6 04.PF.05.v2.355; available in Ernst Herzfeld Papers, Series 4: Photographic Files, 1903-1947.
Gelatin silver print numbered FSA A.4 2.12.Sm.07; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Persepolis (Iran): Apadana, North Side, East Wing of Ceremonial Stairway with Reliefs Depicting Tribute Procession (Sevruguin in foreground) [graphic]
FSA A.4 2.12.GN.38.12
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 38."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "138."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) not readable.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 38.12: Fars; Persepolis (Takht-i Jamshid). Columns." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Portrait of Two Dervishes Carrying a Kashkul, or Beggar's Bowl [graphic]
FSA A.4 2.12.GN.39.01
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 39."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is broken with portions of the lower left corner missing."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "870."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "359."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "292) Two negro dervishes." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 39.1: 2 negro dervishes (#292)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
North of Tehran (Iran): Bagh-i Firdaws (Garden of Paradise) at Shimiran [graphic]
FSA A.4 2.12.GN.39.02
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 39."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The palace/residence is shown almost in the centre of the background of the scene. The structure can be identified as Bagh-i Firdaws by its very distinct and imposing façade and entrance. The residence was initially built on the site of Muhammad Shah Qajar's Mohamaddiya Palace by Muayyir al-Mamalik. Nasir's chief of finance and treasury, Muayyir al-Mamalik was also the first Iranian who opened an account in the British Royal bank and transferred a large part of his belonging to that account. The house was decorated with sheets of gold and marble and known to the contemporaneous travelers to Iran as one of the most extravagant structures of its time." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "632."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "294."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) not readable.
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "293) Baghi Ferdows underground room." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 39.2: Tehran. Shimran. Ferdows. Underground room (293)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Installation of Wireless Tower [graphic]
FSA A.4 2.12.GN.39.03
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 39."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "294) Wireless tower." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 39.3: Wireless tower (294)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Naqsh-i Rustam (Iran): Fire Altars [graphic]
FSA A.4 2.12.GN.39.04
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 39."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "827."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1651."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "295) Altar of a fire temple." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 39.4: (P) [black-and-white print on hand]. Fars; Naksh-i Rustam. Altar of fire temple (?)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.4 2.12.Sm.17; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Unidentified Caravanserai [graphic]
FSA A.4 2.12.GN.39.05
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 39."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is broken with portions of the lower right corner missing."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "172."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1616."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "296) Caravanserai." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 39.5: Caravanserai (296) (chipped)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Unidentified Building [graphic]
FSA A.4 2.12.GN.39.06
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 39."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "713."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "658."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "297) Zargandeh." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 39.6: Zargandeh (297)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Taq-i Bustan (Iran): Sasanian Rock Reliefs, Left Side of the Interior of the Large Vault with Investiture Relief of Khusro II: View of Relief Panel Picturing the Boar Hunt [graphic]
FSA A.4 2.12.GN.39.07
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 39."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "222."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "331."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "282-291) Taq i Bostan." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 39.7: (P) [black-and-white print on hand]. Kirmanshah. Tak-i Bustan. Relief." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.4 2.12.Sm.35; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Glass negative numbered FSA A.4 2.12.GN.44.06; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Friedrich Sarre, Die Kunst Des Alten Persien, Berlin, 1922: p. 42-44, & Friedrich Sarre and Ernst Herzfeld, Iranische Felsreliefs, Berlin, 1910: p.208-213
Taq-i Bustan (Iran): Sasanian Rock Reliefs, Right Side of the Interior of the Large Vault with Investiture Relief of Khusro II: View of Relief Panel Picturing the Stag Hunt [graphic]
FSA A.4 2.12.GN.39.08
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 39."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "173."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "398."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 39.8: (P) [black-and-white print on hand]. Kirmanshah. Tak-i Bustan. Relief." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.4 2.12.Sm.33; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Glass negative numbered FSA A.4 2.12.GN.47.05; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Friedrich Sarre, Die Kunst Des Alten Persien, Berlin, 1922: p. 42-44
Taq-i Bustan (Iran): Sasanian Rock Reliefs, Large and Small Vaults with Investiture Reliefs of Khusro II and Shaphur III as well as Investiture Relief of Ardashir II on the Right [graphic]
FSA A.4 2.12.GN.39.09
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 39."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The Mas'udiyya building, built, most probably around 1860s by Imam Quli Mirza the son of Mohammad Ali Mirza. The building was destroyed in 1964 in order to open the Anahid stream and prepare the site as a Sassanid architecture landmark." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "11."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "154."
- Faded handwritten number (inked, probably by Antoin Sevruguin) reads, "80."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) not readable.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 39.9: (P) [black-and-white print on hand]. Kirmanshah. Tak-i Bustan. Arches." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.4 2.12.Sm.31; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Mahdi Bamdad, Sharh-i Hal-i Rijal-i Iran dar Qarn-i 12,13,14 Hijri, Tehran: Intisharat-i Zavvar (Zavvar Publishing): 1992, volume 1, p:160-163
Taq-i Bustan (Iran): Sasanian Rock Reliefs, Large Vault with Investiture Relief of Khusro II [graphic]
FSA A.4 2.12.GN.39.10
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 39."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The Mas'udiyya building, built, most probably around 1860s by Imam Quli Mirza the son of Mohammad Ali Mirza. The building was destroyed in 1964 in order to open the Anahid stream and prepare the site as a Sassanid architecture landmark." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "181."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) not readable.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 39.10: (P) [black-and-white print on hand]. Kirmanshah. Tak-i Bustan. Arch + relief." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Friedrich Sarre, Die Kunst Des Alten Persien, Berlin, 1922: p. 42-44, & Friedrich Sarre and Ernst Herzfeld, Iranische Felsreliefs, Berlin, 1910: p.208-213
Taq-i Bustan (Iran): Sasanian Rock Reliefs, Large Vault with Investiture Relief of Khusro II [graphic]
FSA A.4 2.12.GN.39.11
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 39."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The investiture of Khusrow Parviz depicted on the top section and Khusrow II is depicted on horse back and in full armor in the lower section. The graffiti on this image is faded. It might have been taken on a later date." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "599."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "835."
- Faded handwritten number (inked, probably by Antoin Sevruguin) reads, "5."
- Faded handwritten number (inked, probably by Antoin Sevruguin) reads, "95."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 39.11: Kirmanshah. Tak-i Bustan. Arch + relief." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Broken Plate with Figural Ornamentation [graphic]
FSA A.4 2.12.GN.40.01
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 40."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 40.1: (P) [black-and-white print on hand]. Pottery." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Isfahan (Iran): Pul-i Khwaju (Khwaju Bridge) [graphic]
FSA A.4 2.12.GN.40.02
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 40."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The bridge was reconstructed by Shah Abbas II in mid 17th century. Being a gathering spot for tourists and locals alike, the relative but striking emptiness of people from crowds leaves the view open for the capturing of the bridge's intricate brickwork and overall design. The front view allows for the continuity of water to the other side of the bridge to be visible." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 40.2: Isfahan. Pol-i Kaju. Lower side." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Isfahan (Iran): Pul-i Khwaju (Khwaju Bridge) [graphic]
FSA A.4 2.12.GN.40.03
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 40."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The bridge was reconstructed by Shah Abbas II in mid 17th century. Being a gathering spot for tourists and locals alike, the relative but striking emptiness of people from crowds leaves the view open for the capturing of the bridge's intricate brickwork and overall design. The front view allows for the continuity of water to the other side of the bridge to be visible." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 40.3: Isfahan. Pol-i Kaju. Upper side." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Isfahan (Iran): Pul-i Khwaju (Khwaju Bridge) [graphic]
FSA A.4 2.12.GN.40.04
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 40."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The bridge was reconstructed by Shah Abbas II in mid 17th century. Being a gathering spot for tourists and locals alike, the relative but striking emptiness of people from crowds leaves the view open for the capturing of the bridge's intricate brickwork and overall design. The front view allows for the continuity of water to the other side of the bridge to be visible." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 40.4: Isfahan. Pol-i Kaju. Lower side." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Isfahan (Iran): Si-o-Se pol or Pol-i Allah Verdi Khan (Allah Verdi Khan Bridge) [graphic]
FSA A.4 2.12.GN.40.05
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 40."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Pul-i Ali Verdi Khan (also known as the Bridge of Julfa and the Pul-i Chahar Bagh)." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "641."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "309) Si o se pol-Isfahan." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 40.5: Isfahan. Pol-i Allah werdi Khan. Lower side." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Isfahan (Iran): Ayina-khana (Hall of Mirrors) [graphic]
FSA A.4 2.12.GN.40.06
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 40."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The palace of Ayina-Khana was built by Shah Safi (Safavid) in the 17th century to resemble Chihil Sutun, the other royal palace in Isfahan. It was destroyed in 1891 by orders from the Qajar ruler of the city: Zil al-Sultan. Mas'ud Mirza or Zil al-Sultan was Nasir Al-Din Shah's oldest son and the governor of Isfahan for about thirty years." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "182."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "745."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "312) Chihil Situn-Isfahan." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 40.6: Isfahan. Building similar to Chihil Sutun." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Albumen print numbered FSA A2011.03 B.17; available in Stephen Arpee Collection of Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Photograph of a Miniature Painting Illustrating Bahram Gur Shooting the Gazelle and Trampling Azada under his Camel's Feet [graphic]
FSA A.4 2.12.GN.40.07
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 40."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Bahram Gur Hunts with Azada, Folio from the Great Il-Khanid Shahnama. The photo is of the lower part of a folio in Great Il-Khanid Shahnama. As can be seen in its margins, on the day the photo was taken the folio has been part of a binding. Also, the painting in the photograph has a few blemishes that currently do not exist on the object. The manuscript is dated to mid Fourteen century and to the current northwestern border region of Iran and the city of Tabriz. The photograph is of the painting alone, the page containing the painting is accompanied by the text of the poem in the folio. The folio is currently held in Harvard Art Museum (1957.193). The story the miniature of which is depicted in the photo has been a rather popular one, used as decoration of pottery and metalwork." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 40.7: Painting." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Qazvin (Iran): Masjid-i Shah (al-Nabi Mosque): View of Iwan inside the courtyard [graphic]
FSA A.4 2.12.GN.40.08
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 40."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The mosque bears the inscription of Fath Ali Shah-i Qajar, but the structure can be dated as far back as mid 18th century." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "431."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "483."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "307) Ab Ambar Qazvin." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 40.8: (P) [black-and-white print on hand]. Kazwin. Masjid-i Jum'a. Iwan." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Albumen print numbered FSA A2011.03 B.24; available in Stephen Arpee Collection of Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Persepolis (Iran): Tomb of Artaxerxes II Mnemon (Tomb V) [graphic]
FSA A.4 2.12.GN.40.09
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 40."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "805."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "52."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 40.9: Fars. Naksh-i Rustam (?). Frescoes." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Naqsh-i Rustam: Achaemenid Tomb of Xerxes [graphic]
FSA A.4 2.12.GN.40.10
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 40."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "The negative is cleaned around the rock, eliminating the remains of the top part of the cliff."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1654."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 40.10: (P) [black-and-white print on hand]. Fars. Naksh-i Rustam (?). Frescoes." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.4 2.12.Sm.09; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Persepolis (Iran): Great Stairway to the Terrace Complex [graphic]
FSA A.4 2.12.GN.40.11
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 40."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1664."
- Faded handwritten number (inked, probably by Antoin Sevruguin) reads, "82."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 40.11: Fars. Persepolis. Stairway." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Glass negative numbered FSA A.4 2.12.GN.35.11; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Inscriptions on Wooden Panel Bearing a Construction Date [graphic]
FSA A.4 2.12.GN.41.01
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 41."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is broken with portion of the left side missing."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 41.1: (P) [black-and-white print on hand]. Carved wood inscription." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Grand Vizier Mirza Yusuf Ashtiyani, the Mustawfi al-Mamalik (1812-1885) [graphic]
FSA A.4 2.12.GN.41.02
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 41."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Mostawfi al-Mamalik was a respected politician of Nasir Al-Din Shah's court. During Nasir's trips outside the capital - to Mashhad in 1866, Baghdad in 1870 and Europe in 1878 - he was appointed as the second-in-command and assistant of Kamran Mirza, the crown prince." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "Black paper on the back. Red ink between the paper and the figure."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "36) Mustofiyi Mamalik." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 41.2: Mustofizi Mamalik (#36)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.4 2.12.Up.10; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Mahdi Bamdad, Sharh-i Hal-i Rijal-i Iran dar Qarn-i 12,13,14 Hijri, Tehran: Intisharat-i Zavvar (Zavvar Publishing): 1992, Vol. 4, p:478
Baghdad (Iraq): Mashhad al-Kazimiya: Religious Dignitaries in front of Entrance Portal [graphic]
FSA A.4 2.12.GN.41.03
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 41."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "495."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1189."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "128) Entrance to Kazemain." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 41.3: (P) [black-and-white print on hand]. Entrance to Kazemain. (# 128)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.4 2.12.Sm.05; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Maydan-i Tupkhana (also known as Maydan-i Sipah or Square of Canons) [graphic]
FSA A.4 2.12.GN.41.04
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 41."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "254."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1347."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "37) Maidan i Sepah." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 41.4: Tehran (?). Maidan-i Sepah (#37)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
E. Kauder, Reisebilder aus Persien, Turkestan und der Turkei, Breslau: Schlesische Buchdruckerei, Kunst- und Verlagsanstalt S. Schottlaender, 1900: p:159
Tehran (Iran): Jeanne d'Arc School: Group Portrait of Students (probably early Pahlavi era) [graphic]
FSA A.4 2.12.GN.41.05
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 41."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"According to the encyclopedia Iranica, Jeanne d'Arc schhool, was one of the two Lazarist French schools of tehran, and "the well-known school for girls to which many of the members of the upper classes sent their daughters, was in operation until the 1979 revolution. In the early 1960s, it had about a thousand pupils in the secondary school and about fifty in its junior school. However, instruction at its secondary school terminated at the tenth grade (Komīsīūn-e mellī-e Yūnesko, II, p. 1211). Many of the more affluent pupils were then sent abroad or continued their studies for the school-leaving certificate at Lycée Razi which offered mixed classes for boys and girls up to the twelfth grade. According to Anīsa Šayḵ-Reżāʼī (pp. 97-98,) the origins of the Jeanne d'Arc school can be traced to two Lazarist schools. The first school was the St. Vincent de Paul school for orphaned girls founded in 1865 by the Daughters of Charity and later renamed Jeanne d'Arc. In the 1920s, the school offered both primary and secondary education at separate classes for Muslim and Armenian students. The Ministry of Education granted the school one hundred tomans per month to support teaching of Persian and financial aid for needy students. The curriculum of the school at the elementary level included arithmetic, dictation, sewing, history and geography, a study of Farāʼed al-adab, and acquaintance with elementary sciences (ʿelm al-ašyāʼ). At the secondary level the curriculum included algebra, geometry, natural sciences, Persian (grammar and reading the text of Kalīla o Demna), hygiene, sewing, and home economy. In 1931 Sister Pauline was the principal of both Jeanne d'Arc and St. Joseph schools indicating the close links between the two institutions. The second school was St. Joseph, a four-year elementary school for girls founded in 1880 by the sisters of Saint Vincent de Paul in the Armenian neighborhood of the Qazvīn Gate quarter (Maḥalla-ye darvāza-ye Qazvīn) with more than two hundred students. Later, the school admitted boys in separate classes. The school enrolled ninety-nine girls and thirty-three boys in 1929. The curriculum included arithmetic, history and geography, sciences, Persian, and French (Nāṭeq, pp. 194, 201, 203). A government grant was given to the school to support teaching of Persian and the admission of fifteen non-paying pupils. Later, in the mid-1930s, this school was renamed Manūčehrī Elementary and High School. In the late 1930s it had an enrollment of about one hundred students and about ten teachers. In 1941, the school closed its Persian program, but its French program continued for foreign pupils. In 1953, its Persian program was revived under the name of Jeanne d'Arc (Dabīrestān-e Žāndārk) with Badr-al-Molūk Pāzārgādī as its principal (Šayḵ-Reżāʼī, p. 97; Wezārat-e farhang, pp. 32-33)."." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "Red paper on all the four sides. Varnish on and around the figures. The centre of the image has wiped out varnish. The faces are also very Lightly touch up."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "Jean d'Arc School." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 41.5: Tehran. Jean d'Arc School. Girls." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Jeanne d'Arc School: Group Portrait of Students and Faculty (probably early Pahlavi Era) [graphic]
FSA A.4 2.12.GN.41.09
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 41."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"According to the encyclopedia Iranica, Jeanne d'Arc schhool, was one of the two Lazarist French schools of tehran, and "the well-known school for girls to which many of the members of the upper classes sent their daughters, was in operation until the 1979 revolution. In the early 1960s, it had about a thousand pupils in the secondary school and about fifty in its junior school. However, instruction at its secondary school terminated at the tenth grade (Komīsīūn-e mellī-e Yūnesko, II, p. 1211). Many of the more affluent pupils were then sent abroad or continued their studies for the school-leaving certificate at Lycée Razi which offered mixed classes for boys and girls up to the twelfth grade. According to Anīsa Šayḵ-Reżāʼī (pp. 97-98,) the origins of the Jeanne d'Arc school can be traced to two Lazarist schools. The first school was the St. Vincent de Paul school for orphaned girls founded in 1865 by the Daughters of Charity and later renamed Jeanne d'Arc. In the 1920s, the school offered both primary and secondary education at separate classes for Muslim and Armenian students. The Ministry of Education granted the school one hundred tomans per month to support teaching of Persian and financial aid for needy students. The curriculum of the school at the elementary level included arithmetic, dictation, sewing, history and geography, a study of Farāʼed al-adab, and acquaintance with elementary sciences (ʿelm al-ašyāʼ). At the secondary level the curriculum included algebra, geometry, natural sciences, Persian (grammar and reading the text of Kalīla o Demna), hygiene, sewing, and home economy. In 1931 Sister Pauline was the principal of both Jeanne d'Arc and St. Joseph schools indicating the close links between the two institutions. The second school was St. Joseph, a four-year elementary school for girls founded in 1880 by the sisters of Saint Vincent de Paul in the Armenian neighborhood of the Qazvīn Gate quarter (Maḥalla-ye darvāza-ye Qazvīn) with more than two hundred students. Later, the school admitted boys in separate classes. The school enrolled ninety-nine girls and thirty-three boys in 1929. The curriculum included arithmetic, history and geography, sciences, Persian, and French (Nāṭeq, pp. 194, 201, 203). A government grant was given to the school to support teaching of Persian and the admission of fifteen non-paying pupils. Later, in the mid-1930s, this school was renamed Manūčehrī Elementary and High School. In the late 1930s it had an enrollment of about one hundred students and about ten teachers. In 1941, the school closed its Persian program, but its French program continued for foreign pupils. In 1953, its Persian program was revived under the name of Jeanne d'Arc (Dabīrestān-e Žāndārk) with Badr-al-Molūk Pāzārgādī as its principal (Šayḵ-Reżāʼī, p. 97; Wezārat-e farhang, pp. 32-33)."." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "Red paper on all the four edges. Varnish all over the figures. Faces touched up."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 41.9: Tehran. Jean d'Arc School. Girls." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Jeanne d'Arc School: Group Portrait of Students and Faculty (probably early Pahlavi Era) [graphic]
FSA A.4 2.12.GN.41.10
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 41."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"According to the encyclopedia Iranica, Jeanne d'Arc schhool, was one of the two Lazarist French schools of tehran, and "the well-known school for girls to which many of the members of the upper classes sent their daughters, was in operation until the 1979 revolution. In the early 1960s, it had about a thousand pupils in the secondary school and about fifty in its junior school. However, instruction at its secondary school terminated at the tenth grade (Komīsīūn-e mellī-e Yūnesko, II, p. 1211). Many of the more affluent pupils were then sent abroad or continued their studies for the school-leaving certificate at Lycée Razi which offered mixed classes for boys and girls up to the twelfth grade. According to Anīsa Šayḵ-Reżāʼī (pp. 97-98,) the origins of the Jeanne d'Arc school can be traced to two Lazarist schools. The first school was the St. Vincent de Paul school for orphaned girls founded in 1865 by the Daughters of Charity and later renamed Jeanne d'Arc. In the 1920s, the school offered both primary and secondary education at separate classes for Muslim and Armenian students. The Ministry of Education granted the school one hundred tomans per month to support teaching of Persian and financial aid for needy students. The curriculum of the school at the elementary level included arithmetic, dictation, sewing, history and geography, a study of Farāʼed al-adab, and acquaintance with elementary sciences (ʿelm al-ašyāʼ). At the secondary level the curriculum included algebra, geometry, natural sciences, Persian (grammar and reading the text of Kalīla o Demna), hygiene, sewing, and home economy. In 1931 Sister Pauline was the principal of both Jeanne d'Arc and St. Joseph schools indicating the close links between the two institutions. The second school was St. Joseph, a four-year elementary school for girls founded in 1880 by the sisters of Saint Vincent de Paul in the Armenian neighborhood of the Qazvīn Gate quarter (Maḥalla-ye darvāza-ye Qazvīn) with more than two hundred students. Later, the school admitted boys in separate classes. The school enrolled ninety-nine girls and thirty-three boys in 1929. The curriculum included arithmetic, history and geography, sciences, Persian, and French (Nāṭeq, pp. 194, 201, 203). A government grant was given to the school to support teaching of Persian and the admission of fifteen non-paying pupils. Later, in the mid-1930s, this school was renamed Manūčehrī Elementary and High School. In the late 1930s it had an enrollment of about one hundred students and about ten teachers. In 1941, the school closed its Persian program, but its French program continued for foreign pupils. In 1953, its Persian program was revived under the name of Jeanne d'Arc (Dabīrestān-e Žāndārk) with Badr-al-Molūk Pāzārgādī as its principal (Šayḵ-Reżāʼī, p. 97; Wezārat-e farhang, pp. 32-33)."." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "Varnish all over the figures. Faces touched up."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "Jean d'Arc School." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 41.10: Tehran. Jean d'Arc School. Girls." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Jeanne d'Arc School: Group Portrait of Students and Faculty (probably early Pahlavi era) [graphic]
FSA A.4 2.12.GN.41.11
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 41."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"According to the encyclopedia Iranica, Jeanne d'Arc schhool, was one of the two Lazarist French schools of tehran, and "the well-known school for girls to which many of the members of the upper classes sent their daughters, was in operation until the 1979 revolution. In the early 1960s, it had about a thousand pupils in the secondary school and about fifty in its junior school. However, instruction at its secondary school terminated at the tenth grade (Komīsīūn-e mellī-e Yūnesko, II, p. 1211). Many of the more affluent pupils were then sent abroad or continued their studies for the school-leaving certificate at Lycée Razi which offered mixed classes for boys and girls up to the twelfth grade. According to Anīsa Šayḵ-Reżāʼī (pp. 97-98,) the origins of the Jeanne d'Arc school can be traced to two Lazarist schools. The first school was the St. Vincent de Paul school for orphaned girls founded in 1865 by the Daughters of Charity and later renamed Jeanne d'Arc. In the 1920s, the school offered both primary and secondary education at separate classes for Muslim and Armenian students. The Ministry of Education granted the school one hundred tomans per month to support teaching of Persian and financial aid for needy students. The curriculum of the school at the elementary level included arithmetic, dictation, sewing, history and geography, a study of Farāʼed al-adab, and acquaintance with elementary sciences (ʿelm al-ašyāʼ). At the secondary level the curriculum included algebra, geometry, natural sciences, Persian (grammar and reading the text of Kalīla o Demna), hygiene, sewing, and home economy. In 1931 Sister Pauline was the principal of both Jeanne d'Arc and St. Joseph schools indicating the close links between the two institutions. The second school was St. Joseph, a four-year elementary school for girls founded in 1880 by the sisters of Saint Vincent de Paul in the Armenian neighborhood of the Qazvīn Gate quarter (Maḥalla-ye darvāza-ye Qazvīn) with more than two hundred students. Later, the school admitted boys in separate classes. The school enrolled ninety-nine girls and thirty-three boys in 1929. The curriculum included arithmetic, history and geography, sciences, Persian, and French (Nāṭeq, pp. 194, 201, 203). A government grant was given to the school to support teaching of Persian and the admission of fifteen non-paying pupils. Later, in the mid-1930s, this school was renamed Manūčehrī Elementary and High School. In the late 1930s it had an enrollment of about one hundred students and about ten teachers. In 1941, the school closed its Persian program, but its French program continued for foreign pupils. In 1953, its Persian program was revived under the name of Jeanne d'Arc (Dabīrestān-e Žāndārk) with Badr-al-Molūk Pāzārgādī as its principal (Šayḵ-Reżāʼī, p. 97; Wezārat-e farhang, pp. 32-33)."." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "Red paper around the edges. Varnish."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "31) 32) 33) 34) Jean d'Arc School." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 41.11: Tehran. Jean d'Arc School. Girls." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Interior of British Embassy [graphic]
FSA A.4 2.12.GN.41.06
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 41."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "27) Interior of British Embassy." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 41.6: Tehran. British Embassy. Interior. (# 27)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Interior of British Embassy [graphic]
FSA A.4 2.12.GN.41.07
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 41."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "29) Interior of British Embassy." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 41.7: Tehran. British Embassy. Interior." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Photograph of Two Folio Pages from an Unidentified Text; A Ruler in a Garden Pavilion Surrounded by Courtiers and Attendants [graphic]
FSA A.4 2.12.GN.41.08
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 41."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The folio on the right side of the image is in Freer Gallery of Art collection (S1986.229), attributed to Shiraz and dated to Safavid period and around 1580s in Iran. The scenes depicted on either of the two pages cannot be attributed to a specific manuscript; the painted scenes are not accompanied by any text. The photo shows the two pieces in binding but the binding rather than a book, looks like an album of separate leafs." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is cracked."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "26) Miniature from Shah Nameh." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 41.8: (P) [black-and-white print on hand]. Shah Nameh miniatures (cracked)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
http://www.asia.si.edu/collections/singleObject.cfm?ObjectNumber=S1986.229
Tehran (Iran): Camel Calvary (Zamburak-chi Regiment) [graphic]
FSA A.4 2.12.GN.42.01
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 42."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "229."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "787."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "74) Camel Corps of Iranian Army." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 42.1: Camel corps of Iranian army. (#74)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Darvaza Dawlat (Dawlat City Gate) [graphic]
FSA A.4 2.12.GN.42.02
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 42."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The structure dates to Nasir Al-Din Shah's time. After the expansion of Tehran, which started in 1867, six gates were added to the city walls of Tehran, one of the most elaborately designed one of which was Darvaza Dawlat. The gate was built in 1871 by Mohammad Rahim Khan 'Ala al-Dawla (Amir Nizam). and at least until the end of 1870s, it had the central archway facing the city and the goat heads of the central top piece on its other side, facing outside the city. During a reconstruction in 1880s the archway of the internal side, along with the goat-heads of the external side were removed. This photo is of the gate after the aforementioned renovations. Located on the north side of the wall, Darvaza Dawlat, along with Shimiran and Yusif Abad Gates, marked the northern boundaries of the city. The view of the gates usually differed from the side facing the city to the side facing the outside. The photo shows the gate from outside the city walls. Almost all of the twelve gates of the city were torn down during the later expansion of Tehran in 1930s." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Scratched handwritten number (inked, probably by Antoin Sevruguin) not readable.
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "80) Darvazeyi Daulat." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 42.2: Tehran. Darwezeyi Dowlat (# 80)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Group of Women [graphic]
FSA A.4 2.12.GN.42.03
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 42."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "Varnish all over the negative."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "16."
- Faded handwritten number (inked, probably by Antoin Sevruguin) reads, "1474."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "77) A zoroastrian bride." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 42.3: A zoroastrian bride (#77)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Portrait of a Persian Woman [graphic]
FSA A.4 2.12.GN.42.04
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 42."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "The glass is very thick. The face is touched up. On the left and top there are marks for chopping off the glass on both sides of the glass plate. The four sides have been chopped off to eliminate the border."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "707."
- Faded handwritten number (inked, probably by Antoin Sevruguin) reads, "42."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "83) Persian woman." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 42.4: Persian woman (#83)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Mountainous Landscape [graphic]
FSA A.4 2.12.GN.42.05
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 42."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "Copy print. Numbers visible in the image that are on the emulsion."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "144) Road to Mazandaran." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 42.5: Road to Mazandaran (#144)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Women Milking Cow [graphic]
FSA A.4 2.12.GN.42.06
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 42."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "45."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "141) Migrants-milking cow." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 42.6: Migrants milking cow (#141)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Persepolis (Iran): Apadana, North Side, West Wing of Ceremonial Stairway with Reliefs Depicting Tribute Procession [graphic]
FSA A.4 2.12.GN.42.07
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 42."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "The top is very uneven. Brown paper on the back and black and red ink on the front flicking the area between the paper and the horizon. Copy print."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "806."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "781."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 42.7: (P) [black-and-white print on hand]. Fars. Persepolis. Takht-i Jamshid. Carvings, columns." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.4 2.12.Sm.29; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Iranische Felsreliefs, Berlin:1910, p:44
Nasir Al-Din Shah with Malijak(?) Holding a Gun [graphic]
FSA A.4 2.12.GN.42.08
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 42."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "It is a copy print."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "70."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "353."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "150) Nasri Din hunting." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 42.8: Nasr-ud-Din hunting (#130)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Geyser at Mt. Damavand, Ab-i Garm [graphic]
FSA A.4 2.12.GN.42.09
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 42."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "Black ink covering the sky. (not for this negative: Brown paper attached to the back side throughout the skyline. The space between the paper and the line of horizon is filled out with ink that goes down all the way through to the three tops. A small piece of white paper is attached to the emulsion side covering part of the emulsion depicting the sky)."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "620."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "425."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "148) Demavand-Geyser Abi garm." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 42.9: Tehran. Damavand-geyser/Abi garm (fingerprints) (#148)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Lalah Zar, Atabak's (Amin al-sultan) Residence [graphic]
FSA A.4 2.12.GN.42.10
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 42."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "Brown paper attached to the back side throughout the skyline. The space between the paper and the line of horizon is filled out with ink that goes down all the way through to the three tops. A small piece of white paper is attached to the emulsion side covering part of the emulsion depicting the sky."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "392."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "220."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "146) (?) Royal summer house in Shimran." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 42.10: Tehran. Shimran. Royal summer house (?) (yelllowed) (#146)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Mazandaran (Iran): Rest Stop [?] with Thatched Roofed Structures [graphic]
FSA A.4 2.12.GN.42.11
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 42."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1428."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "48."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "117."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "16) Scene in Mazandaran." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 42.11: Mazandaran, scene, roofed house (#16)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Installation of Wireless Tower [graphic]
FSA A.4 2.12.GN.42.12
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 42."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 42.12: Wireless tower (1928) (#18)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Studio Portrait: Hussayn Quli Khan-i Mukhbir al-Dawla (1848-1917) [graphic]
FSA A.4 2.12.GN.42.13
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 42."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Born in 1848, Mukhbir al-Dawla was appointed as the minister of Post and Telegraph in 1897 when he took over his father's post after his death and he stayed in this position - with a 3 year absence from 1910-1913 - for the next 15 years." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "Face is touched up."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "763."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1269."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "19) Vazir of Nasr Din Shah." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 42.13: Vazir of Nasr ud Din Shah (#19)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Mahdi Bamdad, Sharh-i Hal-i Rijal-i Iran dar Qarn-i 12,13,14 Hijri, Tehran: Intisharat-i Zavvar (Zavvar Publishing): 1992, Vol. 5, p:89-90
Tehran (Iran): Masjid-i Sipahsalar (Sipahsalar Mosque): View of Iwan inside the Courtyard [graphic]
FSA A.4 2.12.GN.42.14
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 42."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The Madrasa/mosque complex was built in 1866 on the orders of Mirza Mohammad Khan (Sipahsalar) (d.1867), Nasir al-Din shah's minister of the army and later chief minister. The complex includes also a library, bath, and hospital. The clock on the entrance of the square is showing 8:30 in the morning. The men in the gateway Iwan are, however, praying. The shadows also indicate sometime in the afternoon." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "103."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1297."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "147) Imam Riza Mashhad." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 14.2: Khorasan. Mashhad. Shrine of Iman Riza (#147)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Group Portrait: Government Gendarmerie (Zandarmeri-e dawlati) [graphic]
FSA A.4 2.12.GN.42.15
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 42."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "Glass chopped down on all four sides. Tree painted with branches the outline is scratched on the negative. The face are all touched up with a fine headed pencil. A fainting trace of s signature is visible on the left corner. The glass is very thick."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "699."
- Handwritten number (inked) reads, "70."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "748."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "149) Officers of Gendarmerie." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 42.15: Officers of gendarmerie (#149)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Albumen print numbered FSA A2011.03 B.10; available in Stephen Arpee Collection of Sevruguin Photographs.
Albumen print numbered FSA A2011.03 A.39a; available in Stephen Arpee Collection of Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Group Portrait: Students and Faculty [graphic]
FSA A.4 2.12.GN.43.01
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 43."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "The faces of the people are touched up."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 43.1: Armenian scool (#118)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Group Portrait [graphic]
FSA A.4 2.12.GN.43.02
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 43."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "115) Grand Duke, brother of Czar." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 43.2: Grand Duke, brother of Czar (#115)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Grocer Selling Food at Market [graphic]
FSA A.4 2.12.GN.43.03
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 43."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "14."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1133."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 43.3: Bazaar (?) fruit + pastry display." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Maydan-i Tupkhana (also known as Maydan-i Sipah or Square of Canons): Arch de Triomphe with Praises of 'Sardar Sipah' or Riza Khan [graphic]
FSA A.4 2.12.GN.43.04
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 43."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The inscription around the figure of 'Sardar Sipah' (as he is called on the lower inscription) introduces Riza Khan as the reviver of military and industry. The two figures flanking the inscription seem to be the representations of military and industry with the left one carrying a hammer and standing beside an anvil and the other leaning on a shield and holding an unidentifiable object. The Arch de Triomphe does not seem to celebrate the change of dynasty and Riza Khan's coronation, but rather the 1921 coup of Riza Khan - along with the Cossack Brigade - and the dissolution of the government. In the aftermath of the seize of Tehran, Riza khan became the minister of War and Sayyid Zia'al-Din Tabataba'i the prime minister. The new Canons' square and the two storey buildings surrounding it were built between 1867 and 1877 on the north side of the old Canons' square or Maydan-i Arg. The two-storey building in the background of the image surrounding the square was initially planned as a reservoir of military equipment and a meeting and living place of military officials. A large and shallow pool, surrounded by trees and greenery and a railing around the whole area was constructed in the middle of the square. Adjacent to the railing, the canons of the military surrounded the central pool." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "111) Triumphal Arch." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 43.4: Triumphal arch (#111)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Shimiran (Iran): Mountainous Landscape [graphic]
FSA A.4 2.12.GN.43.05
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 43."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "Grayish paper on the back. Remnants of red Ink on the front."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "161."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "109) Sari band-Shimran." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 43.5: Tehran. Shimran. Sariband (#109)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Province of Fars (Iran): Yazd-i Khast or Izad-Khast Complex: View of Caravanserai [graphic]
FSA A.4 2.12.GN.43.06
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 43."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"This complex of Izad-khast or Yazd-i Khast contains the castle of Izad-khast(from Sassanid period), a caravanserai and a bridge of Safavid times. The works inside of the castle belong to different periods from Sassanids to Qajars. The castle of Izad-khast, built on a rock bed, has been resistant to decay and destruction because of its natural base. The photo depicts the caravanserai of Izadkhast, which compared to the other structures of the complex has a later date of construction and is better preserved. The structure is depicted in the background of a few standing figures and part of a bridge that is visible along the right edge of the image. The standing figures both bring a sense of dimension to the structure and hint at the local and contemporaneous use of it.." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "831."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1671."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "107) Former Qajar castle." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 43.6: Former Qajar castle (#107)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Game on Display [graphic]
FSA A.4 2.12.GN.43.07
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 43."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The four sides are very rough."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "433."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "106) Game of Nasri Din Shah." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 43.7: Game of Nasr ud Din Shah (#106)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Studio Portrait: Nasir Al-Din Shah's Mother, Mahd-i Awliya (b.1805-d.1873) [graphic]
FSA A.4 2.12.GN.43.08
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 43."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Mahd-i Awliya, Nasir al-Din Shah's mother is depicted in this photograph. The negative is a copy of another photograph. Since Mahd-I Awliya passed away in Tehran in 1873 and there are no account of Sevruguin being active in Iran in that period, it is safe to assume that the photo in the Sevruguin archive was taken off of another one, possibly taken by Nasir al-Din shah himself." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "Face is touched up. It is a copy print."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "117) Mother of Nasri Din Shah." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 43.8: Mother of Nasr ud Din Shah (#117)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Hot Springs at Mt. Damavand, Ab-i Garm [graphic]
FSA A.4 2.12.GN.43.09
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 43."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "Piece of black paper on the back between the mountain and the edge."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "402."
- Scratched handwritten number (inked) reads, "757."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "104) Abi Garm on Damavand." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 43.9: Tehran. Damavand - Ali garm (#104)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Three Persian Women Seated around a Kursi [graphic]
FSA A.4 2.12.GN.43.10
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 43."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The image is the close relative of another image in the archive of Sevruguin's negatives that depict the same three women in similar attire and setting but in different poses (FSA A.4 2.12.GN.31.03)." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "Black paper on the back. Very little black ink on the face of the negative. The face of the woman on the right and left are touched up. Varnish."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "341."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1238."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) not readable.
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "119) Persian women under kursi." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 43.10: Persian woman under kursi (# 119)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Maydan-i Mashq (Shooting Square): Dead Horses [graphic]
FSA A.4 2.12.GN.44.01
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 44."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "94."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "829."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "44) Maidani Makhsh." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 44.1: Maidani maksh (cracked)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Bagh-i Shah [graphic]
FSA A.4 2.12.GN.44.02
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 44."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "446."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "40) Baghi Shah in Teheran." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 44.2: Tehran. Baghli Shah." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Quaint Basket Boats (Kufa) on the Tigris River [graphic]
FSA A.4 2.12.GN.44.03
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 44."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "660."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "25) Boats of Tigris." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 44.3: Boats of Tigris (cracked + yellowed)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Pul-i Panjab, Bridge of the "Five Waters" on the Road from Tehran to Mazandaran (Iran) [graphic]
FSA A.4 2.12.GN.44.04
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 44."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "358."
- Scratched handwritten number (inked) reads, "758."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 44.4: Fars. Harajvin river bridge (badly damaged)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Parliament Building [graphic]
FSA A.4 2.12.GN.44.05
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 44."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "30) Parliament building Teheran." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 44.5: Tehran. Parliament buildings." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Taq-i Bustan (Iran): Sasanian Rock Reliefs, Left Side of the Interior of the Large Vault with Investiture Relief of Khusro II: View of Relief Panel Picturing the Boar Hunt [graphic]
FSA A.4 2.12.GN.44.06
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 44."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Rock relief on the left side of the bigger cave-like structure, depicting royal boar hunt. Sarre recognizes the king as Khusrow II. A close up of the relief. The negative is identical to 39.7: the scratched number of 331 appears in the exact same spot in both." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is cracked."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "331."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 44.6: Carved panel (cracked)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.4 2.12.Sm.35; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Glass negative numbered FSA A.4 2.12.GN.39.07; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Wrestlers Training in front of Small Crowd [graphic]
FSA A.4 2.12.GN.44.07
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 44."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is cracked and chipped."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "793."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "671."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "114) Persian wrestlers." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 44.7: Persian wrestlers (#114) (cracked + chipped)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Studio Portrait: Ahmad Shah Qajar (approximately age 12) [graphic]
FSA A.4 2.12.GN.44.08
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 44."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is cracked and chipped."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "765."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 44.8: Child Shah (?) (cracked)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Samuel K. Nweeya, Persia the Land of Magi or the Home of the Wise Man, Philadelphia: The John C. Winston Company, 1910, p:39
Shiraz (Iran) (?): Walls and Towers of the Citadel [graphic]
FSA A.4 2.12.GN.44.09
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 44."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "2?2."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "23) Teheran (Citadel?)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 44.9: (P) [black-and-white print on hand]. Citadel in Tehran, Shiraz (?) (#23) (cracked)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Taq-i Nusrat (Triumph Arch) [graphic]
FSA A.4 2.12.GN.44.10
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 44."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Ceremony at archway commemorating the coronation of Reza Shah Pahlavi, Tehran. The Taq (arch) is framed on the top by a poem, celebrating the inauguration of the Pahlavi Shah. (possibly related to FSA A.4 2.12.GN.43.04)." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is chipped."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "87) Crowning of Reza Shah (arch)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 44.10: Crowning of Reza Shah (#87) (chipped)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Isfahan (Iran): Trees Lining [graphic]
FSA A.4 2.12.GN.44.11
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 44."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Myron B. Smith's caption identifies this image as Chahar Bagh, however, the Chahar Bagh avenue has been historically much wider and much more urbanized." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "35) Chehar bagh Isfahan." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 44.11: Isfahan. Chahar Bagh." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Darvaza Dawlat (Dawlat City Gate) [graphic]
FSA A.4 2.12.GN.44.12
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 44."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The structure dates to Nasir Al-Din Shah's time. After the expansion of Tehran, which started in 1867, six gates were added to the city walls of Tehran, one of the most elaborately designed one of which was Darvaza Dawlat. The gate was built in 1871 by Mohammad Rahim Khan 'Ala al-Dawla (Amir Nizam). and at least until the end of 1870s, it had the central archway facing the city and the goat heads of the central top piece on its other side, facing outside the city. During a reconstruction in 1880s the archway of the internal side, along with the goat-heads of the external side were removed. This photo is of the gate after the aforementioned renovations. Located on the north side of the wall, Darvaza Dawlat, along with Shimiran and Yusif Abad Gates, marked the northern boundaries of the city. The view of the gates usually differed from the side facing the city to the side facing the outside. The photo shows the gate from outside the city walls. Almost all of the twelve gates of the city were torn down during the later expansion of Tehran in 1930s." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "Black paper and black ink on the front."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "116."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1349."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "35) Darvaze Daulat in Teheran at exit towards Shimran (now gas station there)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 44.12: Tehran. Darwezi Daulat at exit toward Shimran (cracked)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Silk Worms [graphic]
FSA A.4 2.12.GN.44.13
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 44."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "659."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1410."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "10) Silk worms." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 44.13: Silk worms (#10) (cracked)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Stone Walls in Landscape [graphic]
FSA A.4 2.12.GN.45.01
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 45."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "556."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "539."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 45.1: Landscape." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Unidentified Townscape [graphic]
FSA A.4 2.12.GN.45.02
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 45."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "241."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1613."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 45.2: View of town (chipped)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Unidentified Caravanserai [graphic]
FSA A.4 2.12.GN.45.03
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 45."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "Yellow paper on the back and black in on the front."
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "Very thin glass. The image is incredibly faded."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "609."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1157."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 45.3: Caravanserai (?)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Unidentified Tomb [graphic]
FSA A.4 2.12.GN.45.04
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 45."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "Black paper on the front and black ink."
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "Very thick glass."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "439."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 45.4: (P) [black-and-white print on hand]. Susa - Tomb (?)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.4 2.12.Sm.87; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Rooftops of Unidentified Village [graphic]
FSA A.4 2.12.GN.45.05
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 45."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "All four sides of glass are chopped up; the top edge is half cut, leaving a third of the edge uncut."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "522."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 45.5: House." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Hot Springs at Mt. Damavand, Ab-i Garm [graphic]
FSA A.4 2.12.GN.45.06
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 45."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The surface is rough and the negative is very yellowish brown."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "617."
- Scratched handwritten number (inked) reads, "760."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 45.6: Ruins (badly damaged)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Unidentified Village [graphic]
FSA A.4 2.12.GN.45.07
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 45."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "Black paper on the front and back (one piece of paper folded over) and red ink on the front. Small piece of curved glass is stuck on the bottom one fourth of the negative on the back side. There are remnants of glue on the back paper which indicates that the small piece of glass was part of a bigger piece stuck under the negative that broke off at some point."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "227."
- Scratched handwritten number (inked) reads, "741."
- Scratched handwritten number (inked) reads, "15."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 45.7: Fortress (?)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Portrait of Adib, a Well-Known Writer [graphic]
FSA A.4 2.12.GN.46.01
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 46."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "Varnish on the face and touch ups on the face and eyes."
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass is broken into pieces on top."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "137) Adib. A well-known writer (20 yrs dead)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 46.1: Abib. A well-known writer (#137) (chipped)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Qulhak (Iran): German Embassy's Property [graphic]
FSA A.4 2.12.GN.46.02
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 46."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "Very light piece of glass."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "39) German Embassy property in Gulhak." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 46.2: Tehran. Gulhak. German Embassy property (#39)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.4 2.12.Sm.81; available in Myron Bement Smith Collection, ca. 1910-1970.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Bank-e Milli (National Bank of Tehran) [graphic]
FSA A.4 2.12.GN.46.03
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 46."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The top and right edge are rugged."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "38) Banki Milli Teheran." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 46.3: Tehran. Banki Mill (#38)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Bam (Iran): View of the City [graphic]
FSA A.4 2.12.GN.46.04
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 46."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "Copy print. Framing around the edge of the doorway. Brown Paper on the back and ink."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "455."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1137."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "43) Bam in S. Iran." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 46.4: Southern Iran. Barn (#43)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Vicinity of Rasht (Iran): Bridge on the Old Caravan Road [graphic]
FSA A.4 2.12.GN.46.05
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was not included into any of the original boxes.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "156."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) not readable.
- Faded handwritten number (inked, probably by Antoin Sevruguin) reads, "406."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "126) Bridge in Resht." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 46.5: (P) [black-and-white print on hand]. Gilan. Resht, bridge (#126)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Plowing [graphic]
FSA A.4 2.12.GN.46.06
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was not included into any of the original boxes.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "125) Plowing." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 46.6: Plowing (#125)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Kakh-i Saltanat-abad (Saltanat-Abad Palace): View from inside the Garden [graphic]
FSA A.4 2.12.GN.46.07
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 46."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The construction of the complex of Saltanat-Abad was ordered by Nasir al-Din Shah; it started in 1859 and was finished in 1887. Located in the north eastern part of present-day Tehran, the palace complex includes different (usually free-standing) buildings such as Hawz-Khana (fountain room), Khab-gah (bedroom), Haram-Khana (harem) and Abdar-Khana (kitchen). Hawz-Khana of the palace complex is famous for its exquisite tile work. One of the main features of the palace building is that Saltana-Abad palace has unobstructed view on all four sides. The image depicts the four storey strucutre of the Burj-i Khabgah (resting tower) from inside the garden." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "42) Saltanatabad." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 46.7: Sultanatabad (#42)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Portrait of a Dervish [graphic]
FSA A.4 2.12.GN.46.08
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 46."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass is cracked."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "490."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "458."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "121) Dervish head dress." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 46.8: Dervish headdress (#121) (damaged)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Shiraz (Iran): Cultivated Fields and Gardens [graphic]
FSA A.4 2.12.GN.46.09
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 46."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "Very yellowish brown color all over."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "56."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "289."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "201."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "108) General view of Shimran." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 46.9: Tehran. Shimran. General view (#108)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Former Parliament Building [graphic]
FSA A.4 2.12.GN.46.10
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 46."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "110) Former parliament building." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 46.10: Tehran. Former parliament building (#110)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Bagh-i Shah: View of Wrought Iron Bridge and Equestrian Statue [graphic]
FSA A.4 2.12.GN.46.11
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 46."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "291."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "103) Baghi Shah." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 46.11: Tehran. Baghli Shah (#103)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Portrait of a Kurdish [or Armenian?] Woman in Elaborate Costume [graphic]
FSA A.4 2.12.GN.46.12
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 46."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "442."
- Faded handwritten number (inked, probably by Antoin Sevruguin) reads, "582."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "120) Kurdish costume." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 46.12: Kurdish costume (#120)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Group Portrait: Ja'far Quli Khan-I Sardar Bahadur (b.1879-d.1933), Accompanied by Guardsmen [graphic]
FSA A.4 2.12.GN.46.13
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 46."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Ja'far Quli-Khan was the son of Haj Ali Quli Khan Sardar As'ad. He led the Bakhtiari uprising against Muhammad Ali Shah Qajar during the constitutional revolution. He was later appointed as the minister of Telegraph and Post and later as the minister of War. He kept his official position through out the later years of Qajar dynasty and became a trusted officer of Riza Shah's early years as the king of the new Pahlavi dynasty. In 1933, however, Reza Shah became suspicious of Sardar Bahadur, who was then promoted to Sardar As'ad after the death of his father, and imprisoned him for a few months, until his death in April of 1934. It is speculated that he was poisoned in prison. The image shows Sardar Bahadur in his thirties while he was in charge of military action against provincial uprisings around the country. He is most probably in the company of Bakhtiati guardmen." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "The faces of all the figures have marks on them indicating that they were very carefully touched up. Varnish marks on all the faces."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "105) Sardar Asad (?) and his baktiari guard." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 46.13: Sardar Asad (?) and his bakhtiari guard (#105)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Mahdi Bamdad, Sharh-i Hal-i Rijal-i Iran dar Qarn-i 12,13,14 Hijri, Tehran: Intisharat-i Zavvar (Zavvar Publishing): 1992, Vol. 1, p:245-247
Photograph of Two Bound, Illustrated Folio from a Shahnama, Depicting the Battle between Iranians and Turanians [graphic]
FSA A.4 2.12.GN.46.14
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 46."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The photo depicts the two pages of Shahnama in binding. The two pages, now separated, are in Metropolitan Museum of Art's collection (52.20.9b). The pages are from the Shahnama of Muhammad al-Qivam al-Shirazi, illustrated by Muhammad ibn Taj al-Din Haidar Muzahhib Shirazi (active 1560s-80s). The manuscript is thus dated to 1562-1583. Initially it was in Kelekian's private collection which was sold to the Metropolitan Museum of Art upon his death and in 1952." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 46.14: Miniatures (sections missing)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
http://www.metmuseum.org/collections/search-the-collections/140013260?img=1
Portrait of an Armenian Woman in Elaborate Costume [graphic]
FSA A.4 2.12.GN.46.15
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 46."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "The emulsion of the background of the figure is completely scratched off. There are pieces of paper attached to the edges of the negative. The bottom of the dress, the collars and the right edge of the scarf have ink marks and scratch marks on the to enhance the texture of the dress. The face has very thin markings and touch ups. The left edge is cut."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "334."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "123) Armenian girl +costume." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 46.15: Armenian girl in costume (#123)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.4 2.12.Up.33; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs
Albumen print numbered FSA A2011.03 A.32a; available in Stephen Arpee Collection of Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Man with Donkey and Chickens [graphic]
FSA A.4 2.12.GN.46.16
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was not included into any of the original boxes.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"FSA A.4 2.12.GN.57.08 is a copy print of FSA A.4 2.12.GN.46.16." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "257."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "62."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "127) Chicken seller." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 46.16: Chicken seller (#127)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Glass negative numbered FSA A.4 2.12.GN.57.8; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Portrait of Sayyid Hassan Mudarres (b.1870-d.1937) [graphic]
FSA A.4 2.12.GN.46.17
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 46."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Born in 1870, Mudarres attended school first in Isfahan and then in Iraq, until he returned to Iran in 1898. he was an avid supporter of the constitutional revolution in Iran and in 1910 he represented the cleric establishment of Najaf as the religious supervisor of the laws passed by the second national congress of Iran. He was then elected as the city of Tehran's member of the third national congress (1914). In 1916 he became the minister of justice in Nizam al-Saltana's cabinet. Mudarres opposed the ovrethrow of Qajar dynasty in the congress meeting of Octber 31st, 1925 and became one of the critiques of the government of the time. In 1926 he was the target of an assassination plot, which he survived despite being heavily wounded in the gunfire directed at him. He spent the next few years of his life in exile until 1934 when he was killed in his prison in Kashmar and buried in the same place. This photo is one of the most widely distributed photos of Mudarres, most probably taken in the last few years of his life." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "Varnish on the face and very careful touch ups on the face."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "91) Mullah Mudaris." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 46.17: Mullah mudario (#91)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Mahdi Bamdad, Sharh-i Hal-i Rijal-i Iran dar Qarn-i 12,13,14 Hijri, Tehran: Intisharat-i Zavvar (Zavvar Publishing): 1992, volume 1, p:343-345 The photo is published on page 344.
Rasht (Iran): Small Bridge over Pir-i-Bazaar Stream [graphic]
FSA A.4 2.12.GN.46.18
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was not included into any of the original boxes.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The two sides are chopped off."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "431."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "275."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "90) Bridge in Resht area." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 46.18: Gilan. Resht, bridge (#90) (damaged)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Glass negative numbered FSA A.4 2.12.Up.52; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tabriz (Iran): Masjid-i Muzaffariyya (Masjid-i Kabud, Blue Mosque): View of the Entrance Portal [graphic]
FSA A.4 2.12.GN.46.19
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was not included into any of the original boxes.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The remaining structure shown in the image is commonly known as the blue mosque but it has been part of a grand structure called Muzaffariya that included a tomb, library and khanqah. The name of the mosque (Qabud, meaning cobalt blue) derives from the extensive and elaborate tile work in the mosque, remnants of which is still visible on the remaining walls and portal of the structure. the image depicts the main portal of the structure with people standing at its foot and the opening of its back wall. A similar photo of the same structure and approximately of the same time, with siimilarly large group of people in front of the entrance iwan in present in the Gulistan Palace Museum archive." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "Most probably a copy print. On the lower left edge of the negative there is a small rectangle of lighter area that has very faint traces of a text line running through it."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "507."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1039."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "89) Blue Mosque (Masjidi Nabud) Tabriz." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 46.19: Adharbaijan. Tabriz. Masjid-i Kabud, entrance (#89)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Glass negative numbered FSA A.4 2.12.Sm.47; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Blair, Sheila S. and Jonathan M. Bloom. 1994. The Art and Architecture of Islam. New Haven: Yale University Press
Rooftops of Unidentified City [graphic]
FSA A.4 2.12.GN.47.01
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 47."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "629."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "1?48."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 47.1: View of a city." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Salmas (Iran): Tomb of Emir Arghun's Daughter [graphic]
FSA A.4 2.12.GN.47.02
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 47."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The monument dates back to mid 14th century. It is built on the burial site of Arghun's daughter. Arghun was the pre-Ilkhanid, Mongol ruler of Iran in the mid 13th century. The structure was destroyed during the earthquake of 1931." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "Thick glass. Multiple red dots on the imperfections of the sky."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1268."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 47.2: (P) [black-and-white print on hand]. Azerbaijan. Salmas. Tomb of the daughter of Arghun." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.4 2.12.Sm.69; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Naqsh-i Rustam (Iran): Sasanian Reliefs Depicting the Investiture of Narseh by Anahita [graphic]
FSA A.4 2.12.GN.47.03
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 47."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "596."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1649."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 37.3: (P) [black-and-white print on hand]. Fars; Naksh-i Rustam. Carving." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Iranische Felsreliefs, Berlin:1910, p:84-89
Taq-i Bustan (Iran): Sasanian Rock Reliefs, Large Vault with Investiture Relief of Khusro II [graphic]
FSA A.4 2.12.GN.47.04
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 47."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "Most probably a copy print."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "814."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "---(?)."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "196-197) Taq i Bostan." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 47.4: Kirmanshah. Tak-I Bustan. Arch + carving (196-197)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.4 2.12.Sm.32; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Taq-i Bustan (Iran): Sasanian Rock Reliefs, Right Side of the Interior of the Large Vault with Investiture Relief of Khusro II: View of Relief Panel Picturing the Stag Hunt [graphic]
FSA A.4 2.12.GN.47.05
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 47."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "Very yellowish color all over."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "524."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "---(?)."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 47.5: Fars. Naksh-i Rustam. Carving. (yellowing + peeling)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.4 2.12.Sm.33; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Glass negative numbered FSA A.4 2.12.GN.39.08; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Iranische Felsreliefs, Berlin: 1910, p:206-207
Bushihr (Iran): Telegraph Office [graphic]
FSA A.4 2.12.GN.47.06
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 47."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "49."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1177."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "86) Bushire. Telegraph office." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 47.6: Fars. Bushire. Telegraph office, general view. (86)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Group Portrait: Baha'is [graphic]
FSA A.4 2.12.GN.47.07
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 47."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "He retouched all the faces and put varnish on them. The left side of the negative has a lighter rectangle on which the image is not developed. The photographer painted the background on the image wi ink."
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The right side is chopped off."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "88) Group of Baha'is." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 47.7: Group of Bahais." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Province of Gilan (Iran): Royal Pavilion of Nasir Al-Din Shah at Port of Bandar Anzali [graphic]
FSA A.4 2.12.GN.47.08
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 47."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The structure is octagonal in plan with multiple views of the seashore." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "Very thick glass all four sides of which is chopped off. Remnants of paper and glue on the right side of the negative on a slanted line."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "349."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 47.8: Beach tower (?) (peeling)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Vicinity of Hamadan (Iran): Sassanid Inscriptions of Ganj-Nama [graphic]
FSA A.4 2.12.GN.47.09
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 47."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"A Bakhtiari guard posing beside the Sassanid inscriptions of Ganj-nama (in Cuneiform), located close to the city of Hamadan. The two inscriptions were most probably ordered by Darius I and Xerxes I." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "The image is a copy print."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "12."
- Faded handwritten number (inked, probably by Antoin Sevruguin) reads, "587."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "198) Ganj Nameh." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 47.9: Hamadan. Gang Nameh. 2 cuneiform inscriptions (?) (#198)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.4 2.12.Sm.39; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Ashura [graphic]
FSA A.4 2.12.GN.47.10
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 47."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The main group of mourners are flanked by two rows of guards, holding up their swords." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "330."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "92) Ashura celebration." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 47.10: Ashura celebration (#92)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Barber Dyeing Nasir Al-Din Shah's Mustache [graphic]
FSA A.4 2.12.GN.47.11
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 47."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "The image is a copy print."
- Faded handwritten number (inked, probably by Antoin Sevruguin) reads, "352."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "94) Dentist of Nasri Din Shah." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 47.11: Dentist of Nasr ud Din Shah (#94)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Nasir Al-Din Shah's Daughter, Aqdas [graphic]
FSA A.4 2.12.GN.47.12
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 47."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "A layer of varnish over the face and the body of the figure."
- Faded handwritten number (inked, probably by Antoin Sevruguin) reads, "729."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "97) Daughter of Nasri Din Shah." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 47.12: Daughter of Nasr ud Din Shah (#97)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Unidentified Town, probably Located within the Alborz Mountain Range [graphic]
FSA A.4 2.12.GN.47.13
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 47."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is cracked."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "24."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 47.13: View of a village." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Taq-i Nusrat (Triumph Arch), Including a Portrait of Reza Shah Pahlavi [graphic]
FSA A.4 2.12.GN.48.01
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 48."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Possibly set up on the date of his coronation (1926) or on the later date of his cancellation of D'Arcy agreement (1932). The city gate visible at the background of the image is Darvaza Qazvin." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "59) Triumphal Arch of Reza Shah." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 48.1: Triumphal arch of Reza Shah (#59)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Group Portrait: Posing with a German Junkers Airplane [graphic]
FSA A.4 2.12.GN.48.02
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 48."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "A bit of imperfection on the lower right is filled with black ink."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "60) First (?) plane to land in Iran." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 48.02: First (?) plane to land in Iran (#60)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Nasir Al-Din Shah, at the Foot of his Bronze Statue [graphic]
FSA A.4 2.12.GN.48.03
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 48."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Nasir al-Din Shah's statue was built on the orders of Iqbal al-Saltana, the head of weaponry of Royal court. Mirza Ali Akbar Khan Mi'mar Bashi built the statue in 1886. The statue stayed in the Royal weapons factory until 1888 when it was moved to Bagh-i Shah. Concurrent with the moving of the statue on the 16th of October of 1888, a day of celebrations - because of the occasion - was named as the "Day of the Statue." The photo, however, is taken inside the weapons' factory and therefore it precedes the date of moving the statue to the Bagh-i Shah. It is most probably taken upon the completion of the statue in 1886. The figure standing immediately to the left of Nasir al-Din Shah is his son, Kamran Mirza." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The four edges are rugged and chopped."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "73) Statue of Nasr Din Shah." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 48.03: Statue of Nasr u Din Shah. (#73) (peeling)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Badri Atabay, Fihrist-i Album-ha-i Kitabkhana'i Saltanati, Tehran, 1978, Album number 314, P.1
Iraj Afshar, I'timad al-Saltana: Khatirat-i I'timad al-Saltana, Tehran: Intisharat-i Amir Kabir, 2006
Isfahan (Iran): Maydan-i Naqsh-i Jahan (Naqsh-e Jahan Square) [graphic]
FSA A.4 2.12.GN.48.04
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 48."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Masjid-i Shah's (Royal Mosque) main portal and Ali-Qapu gate are visible in the photograph." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "A small patch in the mid left of the background is colored over with pencil or very light in."
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "Very thin and light plate."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "153."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1631."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "58) Isfahan. Maidani Shah." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 48.4: Isfahan. Maidan-i Shah, showing Masjid-i Shah." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Qazvin (Iran): Imamzada Hussayn Mosque (Shahzade Hossein Tomb Complex) [graphic]
FSA A.4 2.12.GN.48.05
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 48."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Based on the different inscriptions in the building, the earliest part of the structure can be dated to early 15th century. The building however has extensive renovations from Safavid and Qajar period. The visible inscriptions in the photo dates to 1307 (1890), therefore the photograph must have been taken after this date. The inscription bears the name and signature of the artist, as well as Nasir al-Din Shah's praises." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "Red ink covering the sky. Small piece of black paper still attached to the top right border of the emulsion side. There is remnants of glue on the sky that indicates the presence of paper on the sky. The figure of a man beside the donkey in the mid ground is scratched off. Very heavy and thick glass.."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "619."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "657."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 48.5: masjid (faded)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Unidentified City, probably Baghdad (Iraq) [graphic]
FSA A.4 2.12.GN.48.06
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 48."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "Black paper on the back and black ink on the front. The top and right edges are rugged. Ink marks all over the image over the imperfections of the negative."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "279."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 48.6: City under construction (peeling) (see 50.8)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Maydan-i Baharistan (Baharistan Square): Entrance to Majlis-i Shawra-i Milli-i (National House of Council) [graphic]
FSA A.4 2.12.GN.48.07
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 48."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The photo is taken prior to the bombardment of parliament. The sign on the front gate reads: Dar al-Shawra-i Milli-i Iran ((Iran's National House of Council). The writing in the lower bank reads Adl-i Muzaffar (Muzaffar's Justice) and the top medallion on the gate has the date of 1298/1881. The date signifies the conclusion of the building's construction (1879) and its entrance gate(1881). From 1324/1906, the house was used as the gathering place of people's representatives but it was initially built by Mirza Mahdi Khan Shaqaqi (Mumtahin al-Dawla) for Mirza Hussayn Khan Mushir al-Dawla, Nasir Al-Din Shah's prime minister. For a brief period of time between Mushir al-Dawla's death in 1881 and 1906, the house was in possession of Ghulam Ali Khan (Malijak) and his wife, Akhtar al-Dawla who was also Nasir's daughter." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "Behind the blurry imprint of a figure in the right side of the mid ground the photographer has remade the brick work at the bottom of the blind arch."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "323."
- Faded handwritten number (inked, probably by Antoin Sevruguin) reads, "1294."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "72) Entrance to Parliament." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 48.7: Tehran, Parliament, entrance (72)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Dar al-Funun (Building and Courtyard) from the Top of the Gateway to Maydan-i Tupkhana [graphic]
FSA A.4 2.12.GN.48.08
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 48."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Dar al-Funun Institute was the first of its modern kind - institution of higher education in technology - in Iran. It owes its establishment - to a large extent - to Nasir al-Din Shah's teacher and chief minister, Mirza Taqi Khan Amir Kabir (b.1807-d.1852). It opened its doors in 1851 to cater, primarily, to the technological and medical needs of the army in Iran. The first 30 students of Dar al-Funun were chosen from the sons and daughters of the aristocratic circle of Iran, sent to Europe for completion of their degrees and re-employed in the country upon the conclusion of their education. The education was offered free of charge to the students. The initial group of teachers were seven Austrian teachers, which were then expanded to include Italian, French and German teachers in later years. The main areas of study in the school were: military technicians, medicine, pharmacology, mining, natural sciences, history and geography, and painting, music and languages. The photograph shows the building and courtyard of Dar al-Funun school from the top of the main gateway to Canons' Square. The small minaret -head, visible in the foreground of the image is one of the old Dawlat gate's minarets, facing out of the Maydan or square. The building of Dar al-Funun, framed in between the brick column - called Mil Asia - and the minaret was constructed around 1860s in Tehran to house the first institution of higher education, primarily focused on medical, technical and military training." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "Black paper on the back and black ink on the front."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "290."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "70) Scene of Teheran." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 48.8: Tehran, general view (#70)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Badri Atabay, Fihrist-i Album-ha-i Kitabkhana'i Saltanati, Tehran, 1978
Tehran (Iran): Official Funeral Procession [graphic]
FSA A.4 2.12.GN.48.09
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 48."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "Black paper on the back and black ink on the front."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "250."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "71) Funeral." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 48.9: Funeral (#71)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran) (?): Garden of Unidentified House [graphic]
FSA A.4 2.12.GN.48.10
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 48."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 48.10: Garden Home." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Kakh-i Saltanat-abad (Saltanat-Abad Palace Complex): View of Hawz-Khana' i Saltanat-Abad [graphic]
FSA A.4 2.12.GN.48.11
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 48."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The construction of the complex of Saltanat-Abad was ordered by Nasir al-Din Shah; it started in 1859 and was finished in 1887. Located in the north eastern part of present-day Tehran, the palace complex includes different (usually free-standing) buildings such as Hawz-Khana (fountain room), Khab-gah (bedroom), Haram-Khana (harem) and Abdar-Khana (kitchen). Hawz-Khana of the palace complex is famous for its exquisite tile work. One of the main features of the palace building is that Saltana-Abad palace has unobstructed view on all four sides. The image depicts the structure known as Hawz-Khana of Saltanat-Abad palace complex." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "66) Baghi Ferdous above Tajrish." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 48.11: Tehran, Shimran, Baghi Ferdous above Tajrish." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Iraj Afshar, Ganjina'i Akshay-i Iran, 1984, p:350
Studio Portrait: Reza Shah Pahlavi (Portrayed while Minister of War) [graphic]
FSA A.4 2.12.GN.48.12
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 48."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The photo is of Riza Khan in the position of Iran's minister of war. Riza Khan later founded the Pahlavi dynasty in Iran. Initially an officer of the Cossack Brigade and a brigadier general in later years, Riza Khan quickly rose to power during the final years of Qajar dynasty, becoming first the minister of war and later the prime minister of the last Qajar King, Ahmad Shah. After Ahmad Shah's deposition in November of 1925, to which the congress rulled under heavy pressure from Riza Khan, Riza Shah took his imperial oath and became the Shah of Iran. His coronation, however, happened a few months later and in April of 1925. This photo is taken during his term as the prime minister and during Shumyatsky's appointment in Iran." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "The face has extensive and very careful markings and touch ups."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "68) Reza Pahlevi Minister of war." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 48.12: Reza Pahlavi minister of war (65)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Group Portrait: Officials Posing with a German Junkers Airplane [graphic]
FSA A.4 2.12.GN.48.13
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 48."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "68) First plane in Iran." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 48.13: First plane in Iran (#68)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Group Portrait: Celebration at Turkish Embassy [graphic]
FSA A.4 2.12.GN.48.14
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 48."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "69) Turkish Embassy celebration." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 48.14: Turkish Embassy celebration." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
The Kiani Crown, the Coronation Crown of Qajar Kings [graphic]
FSA A.4 2.12.GN.49.01
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 49."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The Kiani Crown, made during the reign o Fath Ali Shah Qajar (1797-1834), was intended as a coronation crown for Qajar Kings. The middle band of the crown is thickly set with pearls and the finial red stone in the crown is the Aurangzib spinel that weighs around 120 carats. The crown weighs around 4.5 kilograms in total." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "White piece of paper stuck to the bottom edge. The tow side edges are chopped off."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "268."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "281) Taj i Kujani." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 49.1: Taq-i Kujami (281)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Photograph of a Portrait Painting Depicting Fath Ali Shah (b.1772-d.1834) [graphic]
FSA A.4 2.12.GN.49.02
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 49."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Fath Ali Shah Qajar was the second king of Qajar dynasty in Iran that ruled the country for around 37 years (1797-1834). He was born to Aqa Mohammad Khan Qajar's brother and since Aqa mohammad Khan did not have a child, Fath Ali shah assumed the position of the king upon his death. The photograph is from a painted portrait of the king." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "The area around the figure is covered in white paper on the back and the area between the figure and the paper is covered in ink."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "742."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "296) Fath Ali Shah." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 49.02: (P) [black-and-white print on hand]. Fath Ali Shah. (#296)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.4 2.12.Up.25; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Badri Atabay, Fihrist-i Album-ha-i Kitabkhana'i Saltanati, Tehran, 1978, Album number 314, P.1
Iraj Afshar, I'timad al-Saltana: Khatirat-i I'timad al-Saltana, Tehran: Intisharat-i Amir Kabir, 2006
Portrait of Ali Khan-i Zahir al-Dawla [graphic]
FSA A.4 2.12.GN.49.03
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 49."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Zahir al-Dawla is depicted in the attire of Ishaq Aghasi Bashi. Ishiq Aghasi Bashi was the official title of the chief justice of the city or the head of the royal court." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "The faces completely touched up along the nose, mustache and eyes."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "675."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "93) Za'ir i Dowlah." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 49.03: (P) [black-and-white print on hand]. Za'ir-i Dowlah. (93)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.4 2.12.Up.24; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Iraj Afshar, Ganjina'i Akshay-i Iran, 1984, p:43
Photograph of a Portrait Painting Depicting Mohammad Shah Qajar (b.1807-d.1848) [graphic]
FSA A.4 2.12.GN.49.04
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 49."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Mohammad Shah was the third king of Qajar dynasty (1834-1848) and Fath Ali Shah Qajar's grandson. Despite having many sons, Fath Ali Shah appointed his grandson - the son of his deceased crown prince, Abbas Mirza - the crown prince of Qajar. Mohammad Shah's reign lasted around 14 years until 1848 when his son, Nasir al-Din, inherited the throne of Qajar upon his father's death. The photograph is of a portrait painting of the king, with inscriptions that depicts the king only a few years before his death and in the age of 39 (painting dated to 1845)." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "The area around the figure is covered in white paper on the back and the area between the figure and the paper is covered in ink."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "209."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "13?9."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "95) Mohammad Shah." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 49.04: Mohammad Shah. (95)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Kashan (Iran): View of the Bazaar Complex Domed Rooftop [graphic]
FSA A.4 2.12.GN.49.05
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was not included into any of the original boxes.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is cracked."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "462."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1615."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 49.05: (P) [black-and-white print on hand]. Kashan. Bazaar and mosque, general view. (64) (cracked)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.4 2.12.Sm.64; available in Myron Bement Smith Collection, ca. 1910-1970.
Glass negative numbered FSA A.4 2.12.GN.00.12; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Kakh-i Gulistan (Gulistan Palace Complex), Talar-i Salam or Talar-i Takht (Throne Room) [graphic]
FSA A.4 2.12.GN.49.06
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 49."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The photograph depicts the throne room or Talar-i Salam with the view of the throne.Talar-I Takht or Throne room of Gulistan palace normally housed the famous Peacock throne and was the offical reception room of the palace. Located on the northwest side of the complex, the room was initially designed as a museum but was later known for its primary use as the official reception room of the palace. The construction of the new complex and the throne room staretd in 1874 and concluded two years later in 1876. It was then decorated with the extensive collection of foreign gifts and local/Iranian artefacts of the palace. The room is currently used as a museum as well." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "The image is a copy print. The glass is doubled."
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass is cracked."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "798."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "40."
- Faded handwritten number (inked, probably by Antoin Sevruguin) reads, "639."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "282-284) Salon and thrones at Gulistan palace." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 49.6: (P) [black-and-white print on hand]. Tehran. Gulistan Palace. Salon and throne room (282-283) (cracked)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Glass negative numbered FSA A.4 2.12.Sm.44; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
The Crown Jewels of Iran, Tehran: Bank Markazi Iran, 1973, p:18-20
Studio Portrait: Muzaffar Al-Din Shah [graphic]
FSA A.4 2.12.GN.49.07
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 49."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "235."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) not readable.
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "75) Muzaffari Din Shah." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 49.7: Muzaffaridin Shah (# 75)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Royal Puppet Show [graphic]
FSA A.4 2.12.GN.50.01
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 50."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The show was usually accompanied by men in foreground playing musical instruments. The man sitting on the left side of the image and close to the scene is called Murshid. He is the one who speaks with the puppets and guides the play. The small carpet on top of the scene and on the curtain reads: Kaka Mahalla on its left. the right hand side writing is not legible." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "443) Marionettes." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 50.1: Marionnettes (# 443)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Isfahan (Iran): Madrasa-i Madar-i Shah: View of Door with Geometrical Ornamentation and Arabic Inscriptions [graphic]
Isfahan (Iran): Madrasa-i Madar-i Shah: View of Door with Geometrical Ornamentation and Arabic Inscriptions [graphic]
FSA A.4 2.12.GN.50.02
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 50."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Wooden door covered with silver plates: The door carries an inscription around the outer frame of both its sides, praising Muzaffar Al-Din Shah-i Qajar." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass is broken. Portion of the bottom right corner is missing."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 50.2: Door (?) (cracked)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.4 2.12.Sm.97; available in Myron Bement Smith Collection, ca. 1910-1970.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Royal Puppet Show [graphic]
FSA A.4 2.12.GN.50.03
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 50."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The show was usually accompanied by men in foreground playing musical instruments. The man sitting on the left side of the image and close to the scene is called Murshid. He is the one who speaks with the puppets and guides the play. The small carpet on top of the scene and on the curtain reads: Kaka Mahalla on its left. the right hand side writing is not legible." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 50.3: Marionnettes." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Royal Encapment in Valley [graphic]
FSA A.4 2.12.GN.19.03
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 19."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Faded handwritten number (inked, probably by Antoin Sevruguin) reads, "1201."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 19.3: Camp." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Maydan-i Tupkhana (Maydan-i Arg, Square of Canons): Gathering of a Large Crowd [graphic]
FSA A.4 2.12.GN.50.05
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 50."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Meeting during Muharram." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "178) Meeting in Masjid i Shah." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 50.5: Isfahan. Masjid-i Shah. Meeting." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Nasir Al-Din Shah's Royal Carriage [graphic]
FSA A.4 2.12.GN.50.06
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 50."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The writing on the window of the carriage reads: "Al-Sultan Nasir Al-Din Shah-i Qajar" (Nasir Al-Din Shah the Sultan)." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "982."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 50.6: Horses and carriage." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Zurkhana Wrestlers Warming Up and Large Crowd of Spectators [graphic]
FSA A.4 2.12.GN.50.07
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 50."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Tehran, Kakh-i Gulistan (Gulistan Palace), might be part of Nowruz celebrations. Performance by clowns during intermission of Zurkhana wrestling performance and large crowd of spectators." (Nasir Al-Din Shah the Sultan)." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "Thick and heavy piece of glass. The top is chopped of."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "100?."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 50.7: Shah and army (?)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Baghdad (Iraq): Unidentified Mosque [graphic]
FSA A.4 2.12.GN.50.08
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 50."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 50.8: City in construction (houses without roofs)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.6 04.31.078; available in Myron Bement Smith Collection, ca. 1910-1970.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Rural Village [graphic]
FSA A.4 2.12.GN.50.09
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 50."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "Black ink on the sky around the leaves of the foreground. Red ink in the middle of the sky."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 50.9: Log cabins with shingled roofs." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Studio Portrait: Western Man [graphic]
FSA A.4 2.12.GN.51.01
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 51."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "Varnish on the top third of the image."
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is broken."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 51.1: Man." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Group Portrait: Nasir Al-Din Shah and his Eunuchs [graphic]
FSA A.4 2.12.GN.51.02
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 51."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Aqa Mohammad Khan Khaja was one of Nasir al-Din shah's favorite Eunuchs who was also very well trusted by the court. The second figure from left is Aziz Khan Khaja. The taller figure standing to the right side of Nasir al-Din Shah and in the back row is Haji Sarvar Khan I'timad al-Harem. Initially one of Muayyir al-Mulk's eunuchs, he was then given to Nasir al-Din Shah. He took the position of the head of harem's eunuchs in 1887 and remained in this position until Nasir al-Din Shah's assassination in 1896. He then went to Tabriz to become Muhammad Ali Mirza's (crown prince) head of harem's eunuchs." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "928."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 51.2: Nasr Din Shah and court." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Mahdi Bamdad, Sharh-i Hal-i Rijal-i Iran dar Qarn-i 12,13,14 Hijri, Tehran: Intisharat-i Zavvar (Zavvar Publishing): 1992, vol. 5, p:108-109
Tehran (Iran): Kakh-i Gulistan (Gulistan Palace Complex), Front Courtyard: Salam Ceremony [graphic]
FSA A.4 2.12.GN.51.03
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 51."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"During the reigns of the first four kings of Qajar dynasty, what is now known as the Salam ceremony had gradually gained a special ceremonial function and was conducted with considerable care and through strict observance of specific rituals. During the ceremony the courtiers, military officials, European officials accompanied, in some cases and in the earlier days of Fath Ali Shah's reign, by the general population would attend the ceremony and paid their respects to the residing Qajar King. The placement of everything from the king's hooka and small seating place on the throne to the arrangement of the different official and military groups in the garden were predetermined and following the traditions set in the earlier days of Qajar dynasty.The photo is most probably taken in Salam ceremony, as part of the Nowruz festivities in the palace." (Nasir Al-Din Shah the Sultan)." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "1162."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 51.3: Nasr Din Shah and court." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Kakh-i Gulistan (Gulistan Palace Complex), Front Courtyard: Salam Ceremony [graphic]
FSA A.4 2.12.GN.51.04
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 51."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"During the reigns of the first four kings of Qajar dynasty, what is now known as the Salam ceremony had gradually gained a special ceremonial function and was conducted with considerable care and through strict observance of specific rituals. During the ceremony the courtiers, military officials, European officials accompanied, in some cases and in the earlier days of Fath Ali Shah's reign, by the general population would attend the ceremony and paid their respects to the residing Qajar King. The placement of everything from the king's hooka and small seating place on the throne to the arrangement of the different official and military groups in the garden were predetermined and following the traditions set in the earlier days of Qajar dynasty. The photo is taken during one of the official Salam ceremonies on either the occasion of Nowruz or the return of Nasir Al-Din Shah from one of his longer trips. The long table set before the balcony and in front of the row of attendants suggests that the ceremony might be a Nowruz Salam ceremony. The shah is sitting on the Marble Throne in the dark spot of the background. The dramatic contrast in the photograph allows for the patterns beneath the fountains in the pool to become visible. It is also notable that in all such occasions, the guards and military personnel stand to the right side of the Shah and the left side of the photo." (Nasir Al-Din Shah the Sultan)." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 51.4: Nasr Din Shah and court." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Group Portrait: Nasir Al-Din Shah, Kamran Mirza on right, Amin al-Sultan on left [graphic]
FSA A.4 2.12.GN.51.05
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 51."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "1028."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "243) Nasri Din Shah." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 51.5: Nasr Din Shah and court." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Kakh-i Gulistan (Gulistan Palace Complex), Talar-i Salam or Talar-i Takht (Throne Room): Nasir Al-Din Shah Examining Decorative Objects with his Attendants [graphic]
FSA A.4 2.12.GN.51.06
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 51."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The photograph depicts the throne room or Talar-i Salam.Talar-I Takht or Throne room of Gulistan palace housed the famous Peacock throne and was the offical reception room of the palace. Located on the northwest side of the complex, the room was initially designed as a museum but was later known for its primary use as the official reception room of the palace. The construction of the new complex and the throne room started in 1874 and concluded two years later in 1876. It was then decorated with the extensive collection of foreign gifts and local/Iranian artefacts of the palace. The room is currently used as a museum as well. The image depicts Nasir al-Din Shah in the company of his court attendants, examining what looks like bejeweled and precious objects of the treasury." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "A large spot of varnish? Is on the top left side of the images that turns the whole negative brown. Slight coloring on the glasses of Nasir."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "1151."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 51.6: Nasr Din Shah and court." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Studio Portrait: Muzaffar Al-Din Shah [graphic]
FSA A.4 2.12.GN.51.07
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 51."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The only nitride film. The emulsion is peeling off."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 51.7: Nasr Din Shah (peeling)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Standing Portrait of Nasir Al-Din Shah [graphic]
FSA A.4 2.12.GN.51.08
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 51."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 51.8: Nasr Din Shah." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Kakh-i Gulistan (Gulistan Palace Complex): Standing Portrait of Muzaffar Al-Din Shah [graphic]
FSA A.4 2.12.GN.51.09
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 51."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The two sides are chopped off."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "170) Nasri Din Shah." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 51.9: Nasr Din Shah." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Kakh-i Gulistan (Gulistan Palace Complex): Salam Ceremony [graphic]
FSA A.4 2.12.GN.51.10
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 51."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"During the reigns of the first four kings of Qajar dynasty, what is now known as the Salam ceremony had gradually gained a special ceremonial function and was conducted with considerable care and through strict observance of specific rituals. During the ceremony the courtiers, military officials, European officials accompanied, in some cases and in the earlier days of Fath Ali Shah's reign, by the general population would attend the ceremony and paid their respects - or in this case their Nowruz greetings- to the residing Qajar King. The placement of everything from the king's hookah and small seating place on the throne to the arrangement of the different official and military groups in the garden were predetermined and following the traditions set in the earlier days of Qajar dynasty. The photo is taken during one of the official Salam ceremonies on either the occasion of Nowruz or the return of Nasir Al-Din Shah from one of his longer trips. It is also notable that in all such occasions, the guards and military personnel stand to the right side of the Shah and the left side of the photo. Nasir Al-Din Shah can be seen in the back of the image seating on the Marble Throne (Takht-i Marmar), receiving courtiers in front of the balcony. The crowd on the left side of the image are more interested in the photographer than the arrival of one of the dignitaries for the ceremony." (Nasir Al-Din Shah the Sultan)." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "1011."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 51.10: Tehran. Gulestan. Opposite side of reception marble throne." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
The Globe of Jewels [graphic]
FSA A.4 2.12.GN.51.11
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 51."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The globe was made on specific orders of Nasir al-Din Shah in order to make use of the loose stones of the Crown Jewels, which for years were kept in sealed leather bags in the palace's treasury. It was made by a group of Iranian artists and goldsmiths, headed by Abraham Massihi and it was completed in 1869. Except for Iran, England, France and Southeast Asia - which are marked by diamonds - and Central and South Africa - which are marked by sapphires and rubies - the other countries are marked by red spinals and rubies. The oceans and seas are marked by emeralds and the geographical lines such as the equator are also marked by diamonds. The globe weighs around 37 kilograms and measures around 0.7 meters. The frame and the stand of the globe are of fine gold, set with diamonds and rubies. In total, the globe is set with 51,366 precious stones that weigh around 18,200 carats." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 51.11: Globe." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Shahristanak (Iran): Imarat-i Shahristanak, the Royal Summer Compound: Nasir Al-Din Shah and Attendants [graphic]
FSA A.4 2.12.GN.51.12
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 51."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The building was erected in 1877-1878 on the orders of Nasir al-Din Shah Qajar as a summer palace for the court. The architect of the complex was Haji Abulhassan Mi'mar Bashi. The palace was built on route from Tehran to Caspian Sea and the city of Chalus. It was primarily used as a getaway from the capital by the royal court. The exterior and the plan resemble those of Sahibqaraniyya Palace in northern Tehran. Nasir Al-Din shah listening to a report read to him by his attendants. The seated figures are Majd al-Molk and Adib al-Molk. The photograph is inscribed and dated in an album in Gulistan Palace Museum (Album number 219, Page 4)." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "477-483) Nasri Din Shah and members of court." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 51.12: Nasr Din Shah and members of court (477-483)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Badri Atabay, Fihrist-i Albumha-i Kitabkhana'i Saltanati, Tehran: Chapkhana'i Ziba, 2537 (1976).
Group Portrait: Nasir Al-Din Shah and his Court at Abshar-I Shimiran (Shimiran's Waterfall) [graphic]
FSA A.4 2.12.GN.51.13
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 51."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "334) Nasr Din Shah and court at Abshar." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 51.13: Nasr Din Shah and court at Abshar." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Studio Portrait: Muzaffar Al-Din Shah after Coronation [graphic]
FSA A.4 2.12.GN.51.14
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 51."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "The background curtain, the king's medals and hat. The right side of the curtain is completely painted over but the touch up in this case is not on the negative. It might have been that this is a reprint of an image and the touch ups are on the print."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "1075."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 51.14: Nasr Din Shah." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Studio Portrait: Muhammad Ali Shah Qajar [graphic]
FSA A.4 2.12.GN.51.15
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 51."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "The image is a copy print. It has black paper both on the edge and another layer on the whole background. The background is also inked over on the emulsion side. The face and the throne's feathers are touched up."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "1169."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 51.15: Nasr Din Shah." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Photograph of a Portrait Painting Depicting Abbas Mirza, Grandfather of Nasir Al-Din Shah [graphic]
FSA A.4 2.12.GN.51.16
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 51."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "323) Abbas Mirza." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 51.16: Abbas Mirza. (#323)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Carved Ivory Piece [graphic]
FSA A.4 2.12.GN.51.17
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 51."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The image is a copy print." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 51.17: (P) [black-and-white print on hand]. Royal container (?)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Street in front of the Hotel Prevet [graphic]
FSA A.4 2.12.GN.52.01
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 52."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "The sky is covered in red ink. The sky on the right side of the negative is co versed in black. There is dots of black ink all over the negative (tree branches on both sides, ground). There are pencil corrections on the body of the tree on the left side and the wall on the right side."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "1221."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "410) Khiabani Cheragh barg." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 52.1: Tehran (?). Khiabani Cheragh barg (410)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Studio Portrait: Government Minister [graphic]
FSA A.4 2.12.GN.52.02
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 52."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The portrait might be of Ali Khan Safi Ali shah, Zahir al-Dawla in his younger days." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "The four edges are chopped off to eliminate the margins. The faces has very light touch ups with something like a pencil: sharp and graphite."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "937."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "413) Government minister." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 52.2: Government minister (413)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
North of Tehran (Iran): Shimiran, Imamzadeh Qasim Shrine [graphic]
FSA A.4 2.12.GN.52.03
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 52."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Based on the earliest inscriptions found in the building of Imamzada Qasim, the building is dated to mid 16th century. However, like many other religious structures of Tehran and its surrounding area, it has gone through various stages of restoration, expansion and reconstruction through the years, in particular through the reigns of Faht Ali Shah Qajar and Nasir al-Din Shah Qajar, amongst which are the addition of the three iwans of the southern sides." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "Traces of black paper on the margins of the image. The sky has two layers of ink, red on top of black ."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "411) Imamzadeh Qasim." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 52.3: Imamzadah Gazim (714)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Studio Portrait: Two Women and a Girl [graphic]
FSA A.4 2.12.GN.52.04
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 52."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "The faces are carefully touched up. There is a consistent halo around all the three faces. The dress of the woman is very carefully touched up with ink around the top and the line around her dress."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "955."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "409) Moslem women." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 52.4: Moslem women (413)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Studio Portrait: Four Women and a Boy [graphic]
FSA A.4 2.12.GN.52.05
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 52."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "Varnish on all the faces along with very light touch ups on the faces."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "407) Zoroastrian family." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 52.5: Zoroastrian family (407)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Khiaban-i Ala al-Dawla (Firdawsi Avenue) [graphic]
FSA A.4 2.12.GN.52.06
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 52."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The street front and the shops' windows looks similar to a photo of Sevruguin's own studio, which substantiates the claim that this is Ala al-Dawla street. Note that in 1313/1923, the name of the street was changed to Firdawsi to commemorate both the poet and the ceremonies of his Millennia." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "506) Khiabani Ala' i Dowleh." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 52.6: Teheran. Khiabani Ala-i Dowleh (506)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Street Scene [graphic]
Tehran (Iran): Street Scene [graphic]
FSA A.4 2.12.GN.56.01
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 56."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The four sides are chopped off."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 56.1: Avenue." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Group Portrait: Mullahs Seating "Bast" [graphic]
FSA A.4 2.12.GN.52.08
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 52."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "417) Persian crowd in tent." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 52.8: Persian crowd in tent (417) bāst." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Darvaza-i Maydan-i Tupkhana or the old Darvaza Dawlat (Square of Canons' Gate) [graphic]
FSA A.4 2.12.GN.52.09
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 52."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The new Canons' square and the two storey buildings surrounding it was built between 1867 and 1877 on the north side of the old Canons' square or Maydan-i Arg. The two storey building surrounding the square was initially planned as a reservoir of military equipment and a meeting and living place of military officials. A large and shallow pool, surrounded by trees and greenery and a railing around thethe pool area were constructed in the middle of the square. Adjacent to the railing, the canons of the military surrounded the central pool. The image shows the entrance gate to the square. This Dawlat gate connected the two main squares or Maydan of the city to each other: Maydan-i Tupkhana and Maydan-i Arg. It was built in 1871 along with the construction of the Almasiyya street by Mohammad Rahim Khan 'Ala al-Dawla (Amir Nizam). The size of the gate made it the earliest attempt at such large scale -inner-city-constructions of its time. The photograph was taken from inside the Tupkhana square." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "The sky is covered in two layers of ink orange on top of black."
- Handwritten number (inked, probably by Antoin Sevruguin) not readable.
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1482."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "414) Maidani Sepah." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 52.9: Tehran ? Maidan-i Sepah." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Taq-i Bustan (Iran): Sasanian Rock Reliefs, Right Side of the Interior of the Large Vault with Investiture Relief of Khusro II: Close View of Relief Panel Picturing the Stag Hunt [graphic]
FSA A.4 2.12.GN.52.10
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 52."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "Uncharacteristically thick piece of glass. This might be a small piece of a bigger image. The sides are chopped off."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 52.10: Carving." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.4 2.12.Sm.34; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Dasht-i Lar Region, Mount Damavand in Background: Shah's Escort Regiment [graphic]
FSA A.4 2.12.GN.52.11
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 52."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "The top of the mountain is covered in ink imitating snow covering."
- Faded handwritten number (inked, probably by Antoin Sevruguin) reads, "909."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "167) Manoeuvers-Shimran." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 52: Tehran. Shimran. Manoeuvers." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A2012.02 01.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Group Prayer in the Courtyard of a Mosque [graphic]
FSA A.4 2.12.GN.53.01
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 53."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Group prayer in the courtyard of a mosque. Another image that looks very similar in orientation and composition to this one is reproduced in Zayn al-`Abidin Maraghah'i's Zustände im heutigen Persien wie sie das reisebuch Ibrahim begs enthüllt. The image reproduced in the reference book is in reference to prayers in the city of Maratha. As such this image could be of the same city. It is however quite possible that the image in the book is just a representation of the Friday prayers and not particular to the city. In Ghasem Safi's book, another very similar image is identified as Friday prayers in Muayyir al-Dawla's mosque. A close comparison of the structure in the image and the plans of the mosque make this identification improbable. The mosque, however, in another very similar image in the same book is identified as Friday Mosque of Tehran." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "177) Prayers at Masjid i Shah (?)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 53.1: Isfahan - masjid-i Shah (?). Prayers (177)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Ghasem Safi, Aksha-i Ghadimi-i Iran, Rijal, Manazir, Bana-ha, va Muhit-i Ijtima'i (Historical Photographs of Iran: Dignitariesm, Spectacles, Architecture, and Social Environment), Tehran: Intisharat va Chap-i Danishgah-i Tehran, 1989, p:228 & p:271
Ashura Performing Qame-Zani Ritual [graphic]
FSA A.4 2.12.GN.53.02
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 53."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"General view of the Qame-Zani ritual. The man in white attire are mourning the death of Hussayn, the 3rd Imam of Shi'i, by re-enacting and re-experiencing his pain. At the end of the ceremony the white dress would be covered in red blood stains." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "Traces of red ink on the dress."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "1158."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1687."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "176) A head cutter." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 53.2: A headcutter (176)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Two Persian Women [graphic]
FSA A.4 2.12.GN.53.03
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 53."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "A very small piece of tape on the right side of the back. Traces of wiped out varnish around the faces."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "180) Two Persian women." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 53.3: 2 Persian women (180)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Camp with Blank Tent and Elephant [graphic]
FSA A.4 2.12.GN.53.04
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 53."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "Copy print. All four sides are chopped off."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "179) Elephant." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 53.4: Elephant (179)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Studio Portrait: Mirza Ibrahim Ghafari (b.1861-d.1918) [graphic]
FSA A.4 2.12.GN.53.05
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 53."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Muavin al-Dawla occupied several trade related positions during the last 20 years of Qajar dynasty in Iran. Amongst his official appointments was the head of trade court in 1892 and the head of Iran's council in Tbilisi from 1894-1896 in Nasir al-Din Shah's time. He later became the minister of trade in Muzaffar al-Din Shah's time. In 1903 he became Iran's diplomatic agent and later council in Balkans and lived in Bucharest, Romania till 1906. He then became the minister of Telegraph and post in 1911 and a year later became the minister of finance. three years later he was appointed minister of foreign affairs. The photo is a studio portrait of Muavin al-Dawla in his fifties and in full regalia." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "The face is carefully touched up. There is a halo of a the varnish around the face."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "240) Iranian minister." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 53.5: Iranian minister (240)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Women Washing Cloths in the Stream [graphic]
FSA A.4 2.12.GN.53.06
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 53."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "235) Abi Maqsud beq." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 53.6: Abi Maqsud beg (235) + crowd." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Studio Portrait: Women and Children [graphic]
FSA A.4 2.12.GN.53.07
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 53."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "Only the little boy's face has touch ups."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "186) Zoroastrian family." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 53.7: Zoroastrian family (186)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
North of Tehran (Iran): View of Darband Village [graphic]
FSA A.4 2.12.GN.53.08
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 53."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "The sky has two layers of ink: red on top of black."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "183) Darband." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 53.8: Darband (183) suburb (?)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Isfahan (Iran): Madrasa-i Madar-i Shah: View of Courtyard, Looking South toward Sanctuary Iwan [graphic]
FSA A.4 2.12.GN.53.09
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 53."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The image is a copy print." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten information on slip of paper reads, "Isfahan, Madrasa Madar-i Shah. Cupola with scaffolding for repairs started by the Russians during partition." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 53.9: Isfahan, Madrasa, Madar-i Shah. Cupola with scaffolding for repairs (182)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Masjid-i Shah Abd al 'Azim (Shah Abd al 'Azim Mosque) [graphic]
FSA A.4 2.12.GN.53.10
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 53."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The Seljuk Shrine/mosque has a lengthy list of restorations during the years, a few of the most significant of which is from Qajar period. From adding minarets and tile work to restoring the other structures and shrines around the main building, works were carried out in the span of about a hundred years during the reigns of Fath Ali Shah, Nasir al-Din Shah and Muzaffar al-Din Shah Qajar. Its golden dome was added during Nasir al-Din Shah's reign, who ordered the dome to be covered in Gold covered copper sheets around 1850s. The minarets were added around 1890s. Many of the images of the building in the 1900s publications are missing the most recent addition of the minarets. This photograph, however, was taken after the addition of the minarets. It shows the main entrance to the harem." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "Small piece of tape at the back. All the four sides are chopped down and there is a partial number visible (8) on the lower left edge the rest of which is gone with the cut."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "1132."
- Handwritten information on slip of paper reads, "Shah abdul Azim." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 53.10: Shah Abdul Azim, general view." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Albumen print numbered FSA A.15 18; available in Jay Bisno Collection of Sevruguin Photographs, 1969-1985.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Sayyid Mohammad Taqi Motafavi, Asar-I Tarikhi-I Tehran: Amakin-I Mutibarraka, Tehran: Anjuman-I Asar-I Milli, 1982, p:421-423
Man Standing in the Middle of the Road [graphic]
FSA A.4 2.12.GN.54.01
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 53."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "168) Road to Abi Ali." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 54.1: Road to Ab Ali (168)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Group Portrait: Regiment Dressed in the Austrian Model [graphic]
FSA A.4 2.12.GN.54.02
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 54."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Regiment dressed in the Austrian model. The Austrian military appointment in Iran was requested in 1878. The instructors arrived in 1879 - along with instructors from Russia - and the regiment was established in 1880. By 1881-2, the Austrian regiment was disbanded. The photo shows the group of men in two seated and one standing row. The middle figure seems to be the higher ranking official. The hoods of the men seem to carry the emblem of Qajar Iran, the sun and the lion. Except for the high ranking figure and a few of the others in the back row, most of the men look elsewhere, not focusing on the gaze of the camera. The poses are highly irregular amongst the group, resembling a group portrait rather than a military regiment. The photographer has touched up the eyes of the figures in the back row, giving most of them a frozen and astonished look." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "All of the faces are touched up with with very sharp pencil."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "7??."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "747."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "169) Soldiers or police." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 54.2: Soldiers or police (169)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Zayn al-`Abidin Maraghah'i, Zustände im heutigen Persien wie sie das reisebuch Ibrahim begs enthüllt, Leipzig: Verlag Von Karl W. Hierseman, 1903, p:8
Waterfall [graphic]
Waterfall [graphic]
FSA A.4 2.12.GN.54.03
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 54."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "361) Abshar." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 54.3: Abshar (361) river ?" [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Qum (Iran): Hazrat-i Ma'suma Shrine Complex: View of the Mirror Iwan [graphic]
FSA A.4 2.12.GN.54.04
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 54."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The initial construction on the site of the holy shrine - with an octagonal plan - in Qum dates back to 13th century. In addition to northward expansion of the whole complex, the original octagonal dome was also modified into a round structure in the earlier years of Safavid dynasty. the southwest corner of the structure houses the tombs of more than a few of Safavid kings, including Shah Sultan Hussayn and Shah Safi. In the 1880s, the new courtyard to the shrine was ordered by Amin al-Sultan, during which the two grand minarets of the western iwan and the two smaller minarets of the entrance were also added to the complex. The golden dome is dated back to Fath Ali Shah-I Qajar, which is consistent with the other restorations to religious buildings of the time. The photo depicts the main entrance to the west side of the shrine and a partial view of the front courtyard, both after the renovations mentioend before." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "All four sides are chopped. Ink spots all over the image covering imperfections and scratches."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "1093."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "360) Qom." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 54.4: Kum. Kum. Shrine (340)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.4 2.12.Sm.56; available in Myron Bement Smith Collection, ca. 1910-1970.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Sayyid Mohammad Taqi Motafavi, Asar-I Tarikhi-I Tehran: Amakin-I Mutibarraka, Tehran: Anjuman-I Asar-I Milli, 1982, p:423-425
Tehran (Iran): Kakh-i Gulistan (Gulistan Palace): Talar-i Salam or Talar-i Takht (Throne Room) [graphic]
FSA A.4 2.12.GN.54.05
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 54."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The photograph - probably taken on a day of a procession or ceremony as people are shown in formal attire, possibly awaiting the arrival of the king - depicts the famous Peacock throne of Gulistan palace in the throne room or Talar-i Salam. Takht-i Tavoos (Peacock Throne) is a later name of Takht-i Khurshid or the Sun Throne. Erroneously the name of the Throne as the peacock throne equated it with the famous Indian throne of Shah Jahan and Nadir's war booty from India, whereas Takht-i Khurshid - visible in this image - was ordered by Fath Ali Shah Qajar around 1800s and built by an Isfahani artist known as Haji Muhammad Hussayn Khan Sadr. The name of the throne changed to the Peacock Throne after Fath Ali Shah's marriage to Tavoos Khanum, his favorite wife. The marriage was celebrated on this particular throne. In the occasion of various royal celebration - such as Salam-i Nawruzi - the throne would be moved out of the palace and into the Iwan-i Dar al-Imara (later known as the hall of Takht-i Marmar or the marble throne) and would be the seating place of the Qajar kings of the time.Talar-I Takht or Throne room of Gulistan palace housed the famous Peacock throne and was the offical reception room of the palace. Located on the northwest side of the complex, the room was initially designed as a museum but was later known for its primary use as the official reception room of the palace. The construction of the new complex and the throne room staretd in 1874 and concluded two years later in 1876. It was then decorated with the extensive collection of foreign gifts and local/Iranian artefacts of the palace. The room is currently used as a museum as well. A very faint projection of the photographer's silhouette and his tripod is visible in the second left mirror on the back wall of the room." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is chopped off on the right and the bottom sides."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "991."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "363) Gulistan palace." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 54.5: Tehran. Gulestan Palace. Throne room (393)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Kakh-i Gulistan (Gulistan Palace): View of Inner Court's Pool with Swans [graphic]
FSA A.4 2.12.GN.54.06
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 54."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "Royal Summer house, Shimrān." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 54.6: Tehran. Shimran. Royal Summer house." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Group Portrait: Earlier Years of Nasir Al-Din Shah's Court [graphic]
FSA A.4 2.12.GN.54.07
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 54."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The seated figure on the left is Mirza Abd al-Ghaffar Khan Sadiq al-Mulk. he was the first in command of Iran's consulate in Russian, St. Petersburg. He died in 1878. The seated figure on the right is Mahmud Khan-i Qaraguzlu, Farmanfarma. In 1853 he was the second -in-command of Iran's consulate in St. Petersburg. In 1856 he took over the consulate after the council general, Azad al-Mulk was removed from his position. From 1863 till 1866 he was the head of Iran's embassy in London. he was then appointed as the minister of war and army. He died in 1885. The rest of the figures should comprise the officers of the consulate in St. Petersburg or Tbilisi." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "The background of the figures is covered in red ink. It is probably a copy print."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "245) Court of mohammad Shah." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 54.7: Court of mohammad Shah (245)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Mahdi Bamdad, Sharh-i Hal-i Rijal-i Iran dar Qarn-i 12,13,14 Hijri, Tehran: Intisharat-i Zavvar (Zavvar Publishing): 1992, vol. 6, p:171-172
Shahristanak (Iran): Imarat-i Shahristanak, the Royal Summer Compound [graphic]
FSA A.4 2.12.GN.54.08
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 54."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The building was built in 1877-1878 on the orders of Nasir al-Din Shah Qajar as a summer palace for the court. The architect of the complex was Haji Abulhassan Mi'mar Bashi. The palace was built on route from Tehran to Caspian Sea and the city of Chalus. It was primarily used as a getaway from the capital by the royal court. The exterior and the plan resemble those of Sahibqaraniyya Palace in northern Tehran." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The top and bottom edges are chopped off."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "365-366) Shimran Royal Summer house." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 54.8: Tehran. Shimran. Royal summer house (366)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Kakh-i Gulistan (Gulistan Palace Complex), Front Courtyard: Salam Ceremony [graphic]
FSA A.4 2.12.GN.54.09
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 54."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"During the reigns of the first four kings of Qajar dynasty, what is now known as the Salam ceremony had gradually gained a special ceremonial function and was conducted with considerable care and through strict observance of specific rituals. During the ceremony the courtiers, military officials, European officials accompanied, in some cases and in the earlier days of Fath Ali Shah's reign, by the general population would attend the ceremony and paid their respects to the residing Qajar King. The placement of everything from the king's hooka and small seating place on the throne to the arrangement of the different official and military groups in the garden were predetermined and following the traditions set in the earlier days of Qajar dynasty. The photo is taken during one of the official Salam ceremonies on either the occasion of Nowruz in the palace." (Nasir Al-Din Shah the Sultan)." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "Top and bottom edges are chopped off."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "1113."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "244) Court of Nasr Din Shah." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 54.9: Nasr Din Shah and court." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
http://www.niavaranmu.com/Menu1/Description.aspx?id=325
Encapment in Valley [graphic]
FSA A.4 2.12.GN.54.10
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 54."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "All four sides are chopped off."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "958."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 54.10: Camp." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Studio Portrait: Muhammad Ghafari, Better known as Kamal al-Mulk [graphic]
FSA A.4 2.12.GN.54.11
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 54."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"As one of the most prolific painters of Iran's recent history, Kamal al-Mulk not only enjoyed a privileged position within the court - at least for the better part of his career - but also an astounding public profile as the first and most famous realist painter of Iranian history of art. He was the nephew of Sani' al-Dawla, the official painter of Nasir Al-Din Shah's court and the Dar al-Funun teacher of painting." (Nasir Al-Din Shah the Sultan)." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "The face is thoroughly touched up. There is varnish on the face as well."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "242) Kamal ul Mulk." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 54.11: Kamal ul Mulk (242)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Studio Portrait: Son of King of Bahrain [graphic]
FSA A.4 2.12.GN.54.12
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 54."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "The face is touched up. There is a layer of varnish over the figure."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "239) Son of King of Bahrein." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 54.12: Son of a King of Bahrain (239)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Dasht-i Lar Region: Nasir Al-Din Shah in his Later Years, Being Read To [graphic]
FSA A.4 2.12.GN.55.01
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 55."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Nasir al-Din Shah and a few of his courtiers at the Yurt Khanlar Khani in Dasht-I Lar. The photograph has a very close relative in Ghasem Safi's book with inscriptipons that include the date of the event and the name of the attendants, some of whom are also visible in this image. The event and its image is dated to June/July of 1890. The figure seated beside the king on the ground is Adib al-Mulk. The rest of the figures, though wearing the same cloths and in very similar poses to the image in the database of Smithsonian, cannot be positively identified as the inscription on the photo only provides a list of the attendants." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "Very thick glass."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 55.1: Landscape." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Sven Hedin, Konung Oscars Beskickning Till Schahen af Persien, Stockholm: Samson & Wallin: 1890, p:306
Ghasem Safi, Aksha-i Ghadimi-i Iran, Rijal, Manazir, Bana-ha, va Muhit-i Ijtima'i, Tehran: Intisharat va Chap-i Danishgah-i Tehran, 1989, p:247
Shahristanak (Iran): Imarat-i Shahristanak, the Royal Summer Compound: View of Upper Room of the Palace [graphic]
FSA A.4 2.12.GN.55.02
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 55."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The building was built in 1877-1878 on the orders of Nasir al-Din Shah Qajar as a summer palace for the court. The architect of the complex was Haji Abulhassan Mi'mar Bashi. The palace was built on route from Tehran to Caspian Sea and the city of Chalus. It was primarily used as a getaway from the capital by the royal court. The exterior and the plan resemble those of Sahibqaraniyya Palace in northern Tehran. The image is related to another negative, 51.12, both seem to be of the same room." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "1040."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 55.2: Salon of an embassy (?)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Badri Atabay, Fihrist-i Album-ha-i Kitabkhana'i Saltanati, Tehran, 1978, (Album number 219, P:4)
Unidentified Landscape [graphic]
FSA A.4 2.12.GN.55.03
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 55."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 55.3: Landscape." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Walled Building with Enclosure and Flag [graphic]
FSA A.4 2.12.GN.55.04
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 55."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "Four sides chopped off."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "1133."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 55.4: Caravanserai (?)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Bird [graphic]
FSA A.4 2.12.GN.55.05
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 55."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "Thick glass. The top and bottom edges are chopped off."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 55.5: Bird." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Unidentified Landscape [graphic]
FSA A.4 2.12.GN.55.06
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 55."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"On the left side of the foreground a brick garden can be seen , where bricks are laid in the sun to dry." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulaion reads, "Black and red ink on the sky."
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The four sides are chopped off."
- Faded handwritten number (inked, probably by Antoin Sevruguin) reads, "913."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 55.6: Mountain." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Unidentified Property Entrance [graphic]
FSA A.4 2.12.GN.55.07
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 55."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Four Pahlavi guards, a man and two young boys are standing in front of what seems to be a palace entrance. Could be Sa'd-abad palace entrance." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulaion reads, "Red ink on the sky. The top of the gate posting the right is in ink. The actual post must have been hidden behind the trees."
- Faded handwritten number (inked, probably by Antoin Sevruguin) reads, "913."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 55.7: Gardens." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Imarat-i Sorkh-i Hisar (Sorkh-i Hisar Palace) or Kakh-i Yaqut (Ruby Palace): View of the Kushk-i Biruni Palace [graphic]
Tehran (Iran): Imarat-i Sorkh-i Hisar (Sorkh-i Hisar Palace) or Kakh-i Yaqut (Ruby Palace): View of the Kushk-i Biruni Palace [graphic]
FSA A.4 2.12.GN.55.08
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 55."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The palace is built by Nasir Al-Din Shah Qajar." (Nasir Al-Din Shah the Sultan)." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "Top and bottom edges are chopped off."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 55.8: Landscape and cottage." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
http://www.niavaranmu.com/Menu1/Description.aspx?id=325
Tehran (Iran): Street Scene [graphic]
FSA A.4 2.12.GN.52.07
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 55."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The sign reads: The branch of Haji Abd al-Rahim Rizayof Shirvani Brothers. According to a letter to the congress in 1910, the headquarters of the family business was located in Rasht, Gilan. The view in the photograph, however, suggests that the photo was taken in Tehran. The street scene is the same as the one photographed in Neg.17.7. the point of view of this one is a bit further to the north of the street." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "Bright orange ink on the sky ."
- Faded handwritten number (inked, probably by Antoin Sevruguin) reads, "1113."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "408) Khiabani Nasiriyeh." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 52.7: Teheran. Khiaban-i Nasiriyeh (408)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Portrait of a Dervish or Cleric [graphic]
FSA A.4 2.12.GN.56.02
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 56."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "The number is on the original print and not on the negative. A piece of black paper is stuck to the bottom of the negative."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "151."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 56.2: (P) [black-and-white print on hand] Mullah." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.4 2.12.Up.53; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Group Portrait: Mullahs [graphic]
FSA A.4 2.12.GN.56.03
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 56."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 56.3: Group of men." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Kakh-i Gulistan (Gulistan Palace Complex): View towards the Inner Courtyard [graphic]
FSA A.4 2.12.GN.56.04
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 56."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The building is most probably facing the Harem portion of Gulistan Palace. The lamp post in the foreground is in the figure of a statue." (Nasir Al-Din Shah the Sultan)." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "Top and left edges are chopped off."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 56.4: Official building." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran), Shimiran, Pul-i Rumi [graphic]
FSA A.4 2.12.GN.56.05
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 56."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "Red ink on the sky covered with black ink. Pencil marks on the mountains."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "507) Pol-i Rumi Shimran." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 56.5: Tehran. Shimran. Pol-i Rumi." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Persepolis (Iran): Throne Hall, Northern Wall, West Jamb of Eastern Doorway: View of Relief Picturing Enthroned King Giving Audience, as well as Registers Picturing Persian and Median Guards [graphic]
FSA A.4 2.12.GN.56.06
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 56."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Persepolis, One of the north entrance doorways to Talar-i Takht (Throne hall, or Sad-Sutun) or One hundred column hall. The king appears immediately below the top section depicting Ahura Mazda with his guards and facing towards the interior of the hall." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "The crack in the structure is covered with pencil marks, highlighting the stone."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "914."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "505) Persepolis." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 56.6: (P) [black-and-white print on hand] Fars. Persepolis. Carving." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.4 2.12.Sm.28; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs
Gelatin silver print numbered FSA A.6 04.05.v3.007b; available in Ernst Herzfeld Papers, Series 4: Photographic Files, 1903-1947.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Firuzkuh (Iran): Qajar Rock Relief Depicting Fath Ali Shah in Royal Hunt [graphic]
FSA A.4 2.12.GN.56.07
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 56."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The Shah is surrounded by twenty-one of his sons and courtiers. In the case of the Qajar princes, the names of each is carved beside their head in the relief. The princes are carved in almost identical attires. The date of construction of the relief is estimated to be the twentieth year of Fath Ali Shah's reign in 1817-18. Fath Ali Shah Qajar was the second king of Qajar dynasty in Iran that rulled the country for around 37 years (1797-1834). He was born to Aqa Mohammad Khan Qajar's brother and since Aqa mohammad Khan did not have a child, Fath Ali shah assumed the position of the king upon his death." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "Top and right edge are chopped off."
- Faded handwritten number (inked, probably by Antoin Sevruguin) reads, "1041."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 56.7: Carving." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.6 04.24.017; available in Ernst Herzfeld Papers, Series 4: Photographic Files, 1903-1947.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
J. P. Luft, The Qajar Rock Reliefs, Iranian Studies, Vol. 34, No. 1/4, p:33-34
Villa and Water Fountain [graphic]
FSA A.4 2.12.GN.56.09
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 56."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 56.9: Official building." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Province of Gilan (Iran): Walkway at Port of Bandar Anzali [graphic]
FSA A.4 2.12.GN.56.10
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 56."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The image is part of a series of photos from the port and its new constructions. The photos depict the official buildins of Bandar-I Anzali (also called Bandar-I Pahlavi) or Anzali port. One of the images in the series shows one of the buildings with a sing on top that reads: "[...] Nazmiyya - Bandar-i Pahlavi". the port of Anzali on the south edge of the Caspian sea and to the north of Tehran was renamed to Pahlavi in 1934. As such the photo mush have been taken after the death of Antoine Sevruguin and by someone associated with his studio." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 56.10: Train station (?)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Amin al-Sultan and Attendants in Campsite and About to be Served with Food [graphic]
FSA A.4 2.12.GN.56.11
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 56."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The photo depicts a tent in a campsite with people sitting under the tent, on the edge of the carpet in front of it and standing on both sides of it. The focus of the image though seems to be the figures sitting in the darkest part of the image, under the tent. The most visible of these figures, sitting on the right side of the group under the tent is Amin al-Sultan, the vizier of Nasir al-Din Shah, Muzaffar al-Din Shah and Muhammad Ail Shah. The other figures, through repeating in some of the other royal images, are not identified. The people standing on the either sides of the tent carry trays of covered and uncovered plates along with breads and two pieces of cloth. the group seems to be on the verge of being served their lunches, with the attendants bringing the plates and dinning cloths. Interesting to note in another figure under the tent, holding a pen and paper, seemingly in the midst of writing something of official stature." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The four sides are chopped off."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "1076."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 56.11: Camp." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Masjid-i Shah Abd al 'Azim (Shah Abd al 'Azim Mosque) [graphic]
FSA A.4 2.12.GN.56.12
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 56."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The Seljuk Shrine/mosque has a lengthy list of restorations during the years, a few of the most significant of which is from Qajar period. From adding minarets and tile work to restoring the other structures and shrines around the main building, works were carried out in the span of about a hundred years during the reigns of Fath Ali Shah, Nasir al-Din Shah and Muzaffar al-Din Shah Qajar. Its golden dome was added during Nasir al-Din Shah's reign, who ordered the dome to be covered in Gold covered copper sheets around 1850s. The minarets were added around 1890s. Many of the images of the building in the 1900s publications are missing the most recent addition of the minarets. This photograph, however, was taken after the addition of the minarets. It shows the main entrance to the harem." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The four sides are heavily chopped off. It is a copy print."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "1044."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 56.12: Mosque." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Sayyid Mohammad Taqi Motafavi, Asar-I Tarikhi-I Tehran: Amakin-I Mutibarraka, Tehran: Anjuman-I Asar-I Milli, 1982, p:421-423
Zayn al-`Abidin Maraghah'i, Zustände im heutigen Persien wie sie das reisebuch Ibrahim begs enthüllt, Leipzig: Verlag Von Karl W. Hierseman, 1903, p:73
A Beggar [graphic]
FSA A.4 2.12.GN.57.01
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 57."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "321."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "369) A beggar." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 57.1: A beggar (#369)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Group of Migrants [graphic]
FSA A.4 2.12.GN.57.02
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 57."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "Copy print. The top, bottom and the left edges are chopped off."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "1038."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "370) Migrants." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 57.2: A picnic." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Portrait of a Shepherd [graphic]
FSA A.4 2.12.GN.57.03
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 57."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "Black paper stuck to the background. The area between the paper and the figure covered in red ink. The beard of the figure has pencil marks. All four sides chopped off."
- Faded handwritten number (inked, probably by Antoin Sevruguin) reads, "1140."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "125."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "368) A Lur." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 57.3: A Lur (#348)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.4 2.12.Up.53; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Group Portrait: Local Kurdish Chiefs [graphic]
FSA A.4 2.12.GN.57.04
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 57."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 57.4: Kurdish chiefs (#367)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Ashpazan Ceremony [graphic]
FSA A.4 2.12.GN.57.05
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 57."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "999."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "362) A dinner party." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 57.5: A dinner party (#362)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Baghdad (Iraq): Suq al Ghazl Minaret and View of the City [graphic]
Baghdad (Iraq): Suq al Ghazl Minaret and View of the City [graphic]
FSA A.4 2.12.GN.56.08
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 56."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "All four sides are chopped off."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "1159."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "393."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 56.8: Manār." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Kakh-i Gulistan (Gulistan Palace Complex), Talar-i Salam or Talar-i Takht (Throne Room) [graphic]
FSA A.4 2.12.GN.57.06
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 57."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Talar-I Takht or Throne room of Gulistan palace housed the famous Peacock throne and was the offical reception room of the palace. Located on the northwest side of the complex, the room was initially designed as a museum but was later known for its primary use as the official reception room of the palace. The construction of the new complex and the throne room started in 1874 and concluded two years later in 1876. It was then decorated with the extensive collection of foreign gifts and local/Iranian artefacts of the palace. The room is currently used as a museum as well. The photo depicts the room with a few attendants of the court scattered about and in the centre of the room, returning the gaze of the camera. The photographer's camera is placed mid-lenghth of the room, looking away from the placement of the throne to the other side of the room. Other images of the same room in the archives usually depict the room in the opposite direction." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "1098."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "Gulistan Palace." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 57.6: Tehran. Gulistan Palace. Throne room." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Hajiabad (Iran): Pahlavi Inscriptions [graphic]
FSA A.4 2.12.GN.57.07
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 57."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "All four sides are chopped off."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "1006."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 57.7: Fars. Hajjiabad ? Tablets of ancient inscription." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.4 2.12.Sm.96; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Man with Donkey and Chickens [graphic]
FSA A.4 2.12.GN.57.08
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was not included into any of the original boxes.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The image is a copy print." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "Black piece of paper on the bottom."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "257."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "62."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 57.8: Animal skeletons and carcasses." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Glass negative numbered FSA A.4 2.12.GN.46.16; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Persepolis (Iran): Gate of All Lands, Colossal Sculptures Depicting Man-Bulls [graphic]
FSA A.4 2.12.GN.57.09
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 57."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Looking towards the south side of the Persepolis complex, with guardian man-bulls of eastern doorway. The Negative might be a reprint of the original photo (the number is blackened instead of scratched." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "1265."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) not readable.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 57.9: Fars; Persepolis. Columns." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Studio Portrait: Taymur Mirza and his Sons [graphic]
FSA A.4 2.12.GN.58.01
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 58."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Taymur Mirza Hisam al-Dawla, born in Shiraz in 1810 was the fifth son of Husayn ali Farmanfarma. He resided in Baghdad till 1864 when he returned to Nasir Al-Din Shah's court to become his chief of hunt and hunting-bird specialist. He wrote a book on the subject of hunting and hunting birds titled Baznama-i Nasiri, published in 1868. He died in 1874 and is buried in Najaf, Iraq." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "Copy print. Pencil marks around the ficus and some of the imperfections of the original print. Pencil marks on the faces and eyes of the figures."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 58.1: Court ministers (#435)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Mahdi Bamdad, Sharh-i Hal-i Rijal-i Iran dar Qarn-i 12,13,14 Hijri, Tehran: Intisharat-i Zavvar (Zavvar Publishing): 1992, Vol. 5, P:47-48
North of Tehran (Iran): Imarat-i Bagh-i Firdaws (Palace at Garden of Paradise) at Shimiran [graphic]
FSA A.4 2.12.GN.58.02
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 58."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "444) Shimran Baghi Ferdous." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 58.2: Tehran. Shimran. Baghi Ferdows (444)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Iraj Afshar, Ganjina'i Akshay-i Iran, 1984, p:354
Tehran (Iran): Kakh-i Gulistan (Gulistan Palace Complex): Celebration Scene in the Garden [graphic]
FSA A.4 2.12.GN.58.03
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 58."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Most probably a scene from Aziz al-Sultan's wedding ceremony." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "1163."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "339) Celebration in Gulistan palace." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 58.3: Tehran. Gulistan Palace. Celebration (339)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Studio Portrait: Two Men in Uniform [graphic]
FSA A.4 2.12.GN.58.04
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 58."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "406) Army officers." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 58.4: Army officers (#406)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Jeanne d'Arc School: Group Portrait of Students (probably early Pahlavi era) [graphic]
Tehran (Iran): Jeanne d'Arc School: Group Portrait of Students (probably early Pahlavi era) [graphic]
FSA A.4 2.12.GN.58.05
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 58."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "341) Jean d'Arc School." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 58.05: Tehran. Jean d'Arc School. (341)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Table Dressed for a Celebration [graphic]
FSA A.4 2.12.GN.58.06
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 58."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "All four sides are chopped off."
- Faded handwritten number (inked, probably by Antoin Sevruguin) reads, "988."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "343) Loaded table." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 58.6: Loaded table (343)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Swan and her Young [graphic]
FSA A.4 2.12.GN.58.07
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 58."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The top and bottom sides are chopped off."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "342) A duck." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 58.7: A duck (342)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Group Portrait: Nasir Al-Din Shah's Court Ministers [graphic]
FSA A.4 2.12.GN.58.08
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 58."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "946."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "340) Ministers of court (?)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 58.8: Ministers of court (?) (340)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Group Portrait: Nasir Al-Din Shah and Court Ministers [graphic]
FSA A.4 2.12.GN.58.09
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 58."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "1147."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "336) Nasr Din Shah and ministers." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 58.8: Nasr Din Shah and ministers (336)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Maydan-i Tupkhana (also known as Maydan-i Sipah or Square of Canons): View of Tents and Canons [graphic]
FSA A.4 2.12.GN.58.10
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 58."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "All four sides are chopped off."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "1049."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "320."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 58.10: Camp." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Ornate Teapot and Sugar Bowl [graphic]
FSA A.4 2.12.GN.58.11
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 58."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 58.11: Pottery (recent)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Glass negative numbered FSA A.4 2.12.GN.10.02; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Isfahan (Iran): Madrasa-i Madar-i Shah: View of Cossack Officers Standing in front of Entrance Iwan [graphic]
FSA A.4 2.12.GN.59.01
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 59."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is broken."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 59.1: Iwan." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Interior of Four Bowls [graphic]
FSA A.4 2.12.GN.59.02
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 59."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is broken. Portion of the lower right corner is missing."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 59.2: (P) [black-and-white print on hand]. Pottery." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Interior of Minai Bowl [graphic]
FSA A.4 2.12.GN.59.03
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 59."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is broken. Portions of the lower and upper left corners are missing."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 59.3: (P) [black-and-white print on hand]. Pottery." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Jar, Bowl and Ewer [graphic]
FSA A.4 2.12.GN.59.04
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 59."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is cracked."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 59.4: (P) [black-and-white print on hand]. Pottery." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Royal Horse and Attendants [graphic]
FSA A.4 2.12.GN.59.05
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 59."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is broken. Portion of the lower right corner is missing."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 59.5: Royal horse (?)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Interior of Three Bowls [graphic]
FSA A.4 2.12.GN.59.06
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 59."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is cracked."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 59.6: (P) [black-and-white print on hand]. Pottery." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Statue of Woman and Child [graphic]
FSA A.4 2.12.GN.59.07
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 59."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is broken. Portion of the lower right corner is missing."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 59.7: Sculpture (statue)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Three Bowls [graphic]
FSA A.4 2.12.GN.59.08
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 59."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is cracked."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 59.8: (P) [black-and-white print on hand]. Pottery." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Figural Statue [graphic]
FSA A.4 2.12.GN.59.09
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 59."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is broken."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 59.9: Statue." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Two Jars and a Bowl [graphic]
FSA A.4 2.12.GN.59.10
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 59."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is cracked."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 5910: (P) [black-and-white print on hand]. Pottery." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Interior of Minai Bowl [graphic]
FSA A.4 2.12.GN.59.11
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 59."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is cracked."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 59.11: (P) [black-and-white print on hand]. Pottery." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Qum (Iran): Portal with Minarets [graphic]
FSA A.4 2.12.GN.59.12
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 59."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is cracked."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "998."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 59.12: 2 manars (yellowed)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Rasht (Iran): Friday (Jum'a) Mosque [graphic]
FSA A.4 2.12.GN.60.01
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 60."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The top,bottom and right edges are chopped off."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 60.1: House." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Dushan Teppe (Iran): Tree lined Avenue [graphic]
FSA A.4 2.12.GN.60.02
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 60."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "1224."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 60.2: Avenue." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Province of Gilan (Iran): Port of Bandar Anzali [graphic]
FSA A.4 2.12.GN.60.03
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 60."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The image is part of a series of photos from the port and its new constructions. The photos depict the official buildins of Bandar-I Anzali (also called Bandar-I Pahlavi) or Anzali port. One of the images in the series shows one of the buildings with a sing on top that reads: "[...] Nazmiyya - Bandar-i Pahlavi". the port of Anzali on the south edge of the Caspian sea and to the north of Tehran was renamed to Pahlavi in 1934. As such the photo mush have been taken after the death of Antione Sevruguin and by someone associated with his studio." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "524-527) Pahlevi, new city." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 60.3: Town." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Province of Gilan (Iran): Park Area at Port of Bandar Anzali [graphic]
FSA A.4 2.12.GN.60.04
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 60."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The image is part of a series of photos from the port and its new constructions. The photos depict the official buildins of Bandar-I Anzali (also called Bandar-I Pahlavi) or Anzali port. One of the images in the series shows one of the buildings with a sing on top that reads: "[...] Nazmiyya - Bandar-i Pahlavi". the port of Anzali on the south edge of the Caspian sea and to the north of Tehran was renamed to Pahlavi in 1934. As such the photo mush have been taken after the death of Antione Sevruguin and by someone associated with his studio." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "524-527) Pahlevi, new city." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 60.4: Tehran ? - Pahlevi, new city (524-527)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Province of Gilan (Iran): Walkway at Port of Bandar Anzali [graphic]
FSA A.4 2.12.GN.60.05
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 60."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The image is part of a series of photos from the port and its new constructions. The photos depict the official buildins of Bandar-I Anzali (also called Bandar-I Pahlavi) or Anzali port. One of the images in the series shows one of the buildings with a sing on top that reads: "[...] Nazmiyya - Bandar-i Pahlavi". the port of Anzali on the south edge of the Caspian sea and to the north of Tehran was renamed to Pahlavi in 1934. As such the photo mush have been taken after the death of Antione Sevruguin and by someone associated with his studio." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The top edge is chopped off."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "524-527) Pahlevi, new city." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 60.5: Avenue." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Province of Gilan (Iran): Park Area at Port of Bandar Anzali [graphic]
FSA A.4 2.12.GN.60.06
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 60."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The image is part of a series of photos from the port and its new constructions. The photos depict the official buildins of Bandar-I Anzali (also called Bandar-I Pahlavi) or Anzali port. One of the images in the series shows one of the buildings with a sing on top that reads: "[...] Nazmiyya - Bandar-i Pahlavi". the port of Anzali on the south edge of the Caspian sea and to the north of Tehran was renamed to Pahlavi in 1934. As such the photo mush have been taken after the death of Antione Sevruguin and by someone associated with his studio." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "524-527) Pahlevi, new city." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 60.4: (?)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Quaint Basket Boats (Kufa) on the Tigris River [graphic]
FSA A.4 2.12.GN.60.07
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 60."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "Red ink on the imperfections of the negative. The number is in the original print."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "35?."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 60.7: Large baskets on river ?" [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Ishratabad Palace [graphic]
FSA A.4 2.12.GN.60.08
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 58."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The palace was built during the reign of Nasir Al-Din Shah. The photo is taken about 15 years after its construction." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "All four sides are chopped off."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 60.8: House and garden." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Kakh-i Gulistan (Gulistan Palace Complex): Celebration Scene in the Garden [graphic]
FSA A.4 2.12.GN.60.09
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 60."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Most probably a scene from Aziz al-Sultan's wedding ceremony. Small sticker on the bottom right side with '111' on it." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 60.9: Court." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Ashpazan Ceremony Banquet [graphic]
FSA A.4 2.12.GN.60.10
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 60."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "957."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 60.10: Banquet." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Grocers Selling Food at Market [graphic]
FSA A.4 2.12.GN.60.11
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 60."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "1247."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 60.11: Banquet." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Portrait of Shaykh-i Khaz'al (1863-1936) [graphic]
FSA A.4 2.12.GN.60.12
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 60."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Also known as Nusrat al-Mulk, Mu'iz al-Saltana, Sardar Arfa' and Sardar Aqdas, he was the governor of Khuzestan form 1898 for around thirty years. Shaykh Khaz'al entered into an agreement with the British government at the beginning of the World War I, upon which the British government agreed to protect the sovereignty of Khaz'al's rule against any government - including the central government of Iran. After the war and a following unsuccessful attempt at establishing a sovereign Arab state in Khuzestan, he was arrested and brought to Tehran in 1926 where he stayed until his death/murder on May 25th of 1936." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "Black paper on the front. Black ink in between the paper and the figure. Pencil marks on the face. Small yellowish piece of paper on the bottom left."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 60.12: Man." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Mahdi Bamdad, Sharh-i Hal-i Rijal-i Iran dar Qarn-i 12,13,14 Hijri, Tehran: Intisharat-i Zavvar (Zavvar Publishing): 1992, Vol. 1, P:476-478
Western Style Painting [graphic]
FSA A.4 2.12.GN.61.01
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 61."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 61.01: Painting." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Snake Charmer [graphic]
FSA A.4 2.12.GN.61.02
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 61."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 61.02: Snake handler." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Portrait of a Man with Gun [graphic]
FSA A.4 2.12.GN.61.03
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 61."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 61.3: Man." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Tehran (Iran): Kakh-i Gulistan (Gulistan Palace Complex), Talar-i Salam or Talar-i Takht (Throne Room) [graphic]
FSA A.4 2.12.GN.61.04
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 61."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The photograph depicts the Throne Room or Talar-i Salam of the Gulistan Palace, showing the wooden Nadiri throne - built on the orders of Fath Ali Shah Qajar (1798-1834) - in the back of the image. Talar-I Takht or Throne room of Gulistan palace housed the famous Peacock throne and was the official reception room of the palace. Located on the northwest side of the complex, the room was initially designed as a museum but was later known for its primary use as the official reception room of the palace. The construction of the new complex and the throne room started in 1874 and concluded two years later in 1876. It was then decorated with the extensive collection of foreign gifts and local/Iranian artifacts of the palace. The room is currently used as a museum as well. The throne visible at the far back of the room and the background of the image is what is commonly referred to as Nadiri Throne. The construction of the throne, however, is firmly attributed to Fath Ali Shah Qajar (1798-1834), as the inscriptions around the base of the throne make explicit. The throne is inlaid with 26,733 gems and its measurements are as followed: 98 centimeters long, 96 centimeters broad, 117 centimeters to the arm-set and 217 centimeters at the back. For ease of movement, the throne was originally built in 12 separate pieces to be assembled and dis-assembled when needed. The pieces are all covered in sheets of gold and inlaid with precious stones, consisting - mostly - of emeralds and rubies. When compared to the image 51.5 it becomes evident that the boxes and the cotton in them are used to protect precious objects that were brought to Nasir al-Din Shah's presence for viewing. It seems that this image was taken after the 51.5, where servants are cleaning up the previewing of the objects." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "112) Gulistan palace (reception room)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 61.4: Tehran. Gulistan Palace. Reception room." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
The Crown Jewels of Iran, Tehran: Bank Markazi Iran, 1973, p:18-20
Tehran (Iran): Darvaza Dawlat (Dawlat City gate), Viewed from Inside the City [graphic]
FSA A.4 2.12.GN.61.05
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 61."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The structure of Darvaza Dawlat dates to Nasir Al-Din Shah's time. After the expansion of Tehran, which started in 1867, six gates were added to the city walls of Tehran, one of the most elaborately designed one of which was Darvaza Dawlat. The gate was built in 1871 by Mohammad Rahim Khan 'Ala al-Dawla (Amir Nizam). Located on the north side of the wall, Darvaza Dawlat, along with Shimiran and Yusif Abad Gates, marked the northern boundaries of the city. The view of the gates usually differed from the side facing the city to the side facing the outside. Almost all of the twelve gates of the city were torn down during the later expansion of Tehran in 1930s. The gate went under extensive reconstructions in late 1880s and early 1890s that removed a top arch from the main archway. This photo is taken after the reconstruction." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "Piece of black paper on the border of the photo."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 61.5: City gate." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Rasht (Iran): Spice Shop [graphic]
FSA A.4 2.12.GN.61.06
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 61."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The sugar cones in the shop have the logo of a sugar factory and refinery. The logo reads: "FABRYKA CUKRU/KONSTANCYA" which seems to be the name of a polish refinery. Another sugar cone logo in the shop reads: "CUKROWNIA/MICHALOW", also a brand of polish sugar refinery. The images in both Iraj Afshar's book and Zayn al'Abedin Maragha'i's travelogue of 1903 shows a bit more of the surrounding area of the shop than the one showed in the negative." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Faded handwritten number (inked, probably by Antoin Sevruguin) reads, "12."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "396) Shop in Resht." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 61.6: Gilan. Resht. Shop (396)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Iraj Afshar, Ganjina'i Akshay-i Iran, 1984, p:280
Zayn al-`Abidin Maraghah'i, Zustände im heutigen Persien wie sie das reisebuch Ibrahim begs enthüllt, Leipzig: Verlag Von Karl W. Hierseman, 1903, p:35
Tehran (Iran): Nasir Al-Din Shah's Royal Carriage [graphic]
FSA A.4 2.12.GN.61.07
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 61."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass is broken."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "47) Landeau of Nasri Din Shah." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 61.7: Landeau of Nasr Din Shah." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Unidentified Landscape [graphic]
FSA A.4 2.12.GN.61.08
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 61."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "1048."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 61.8: (yellowed)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Rayy (Iran): Zoroastrian Tower of Silence (Khamushan Tower) [graphic]
FSA A.4 2.12.GN.61.09
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 61."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "Red ink over the sky. Black paper sandwiched in between the two pieces of glass. Copy print."
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The negative is doubled up: there are two glass-plates glued together, probably to prevent the crack on the original negative from spreading. There is extensive discoloration (red color0 on the negative as well."
- Faded handwritten number (inked, probably by Antoin Sevruguin) reads, "1271."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1032."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "298) Tower of silence." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 61.9: Towers of silence (298)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Gelatin silver print numbered FSA A.4 2.12.Sm.86; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Studio Portrait: Western Woman in Studio Posed with Chador and Hookah [graphic]
FSA A.4 2.12.GN.61.10
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 61."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "56) Persian woman with galeon." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 61.10: Persian woman with galeon (56)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
FSA A.04 2.12.GN.Identifications
According to past F/S Archives staff, . Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 61."
Title and summary note are provided by Archives staff.
- Information from Archives staff reads, "266 handwritten identifications on slips of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran)."
- Additional information from initial Sevruguin Finding Aid reads, "Handwritten identifications recorded on scraps of paper were housed with nearly 300 photonegatives in this collection."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
98 gelatin silver photoprints were collected by Myron Bement Smith after he viewed a portion of Sevruguin's negatives in 1934 ( these include recent finds in the Myron Bement Smith collection).
Tehran (Iran): Maydan-i Mashq (Shooting Range): Ice Cream Vendor [graphic]
[18(A2)]
FSA A.4 2.12.Sm.01
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran; Architecture; Landscapes). This print is in the following subject category: People.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The photograph depicts a group of men and children around an ice cream vendor in what looks to be the Maydan-I Mashq in Tehran. The shorter hat of the man in coat on the left side of the image puts the date around the later years of Nasir al-Din Shah's reign." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "233."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
Gelatin silver print numbered FSA A.4 2.12.Up.09; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Men Viewing Moving Pictures in an Apparatus Commonly Known as a Shahr-i Farang [graphic]
[Myron Bement Smith collection. Freer/Sackler Archives, No. A.4.44]
FSA A.4 2.12.Sm.02
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran; Architecture; Landscapes). This print is in the following subject category: People.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Qazvin (Iran): Imamzada Hussayn Mosque (Shahzade Hossein Tomb Complex): View of Bazaar in front of Iwan [graphic]
[18(A4)]
FSA A.4 2.12.Sm.03
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran; Architecture; Landscapes). This print is in the following subject category: People.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "837."
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "457."
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "837."
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "---(?)."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Bazaar Scene in front of Mosque."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Pilgrims at the Shrine of Najaf (Iraq) [graphic]
[18(A5)]
FSA A.4 2.12.Sm.04
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran; Architecture; Landscapes). This print is in the following subject category: People.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "893."
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "---(?)."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Mullahs."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Baghdad (Iraq): Mashhad al-Kazimiya: Religious Dignitaries in front of Entrance Portal [graphic]
[18(A6)]
FSA A.4 2.12.Sm.05
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran; Architecture; Landscapes). This print is in the following subject category: People.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "495."
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1189."
- On verso of the print, handwritten number (penciled) reads, "41.3."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
Glass negative numbered FSA A.4 2.12.GN.41.03; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Clerics Gathered in Entrance Portal [graphic]
[18(A7)]
FSA A.4 2.12.Sm.06
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran; Architecture; Landscapes). This print is in the following subject category: People.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "---(?)."
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "---(?)."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Mullahs gathered in Entrance Portal."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Naqsh-i Rajab (Iran): Sasanian Rock Relief (Relief IV) Picturing High Priest Kartir and Middle Persian Inscription [graphic]
[18(A9)]
FSA A.4 2.12.Sm.07
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran; Architecture; Landscapes). This print is in the following subject category: Architecture - Pre-Islamic.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "221."
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "51."
- On verso of the print, handwritten number (penciled) reads, "38.11."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Fārs; Naqsh-I Rajab; Kartir high priest raising finger in respect."
Glass negative numbered FSA A.4 2.12.GN.38.11; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Gelatin silver print numbered FSA A.6 04.PF.05.v2.355; available in Ernst Herzfeld Papers, Series 4: Photographic Files, 1903-1947.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Naqsh-i Rustam (Iran): Sacred Precinct with Achaemenid Tombs and Sasanian Rock Reliefs Carved into the Husain Kuh Cliff [graphic]
[18(A10)]
FSA A.4 2.12.Sm.08
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran; Architecture; Landscapes). This print is in the following subject category: Architecture - Pre-Islamic.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "171."
- On verso of the print, handwritten number (penciled) reads, "38.10."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Fārs; Naqsh-I Rustam; 3 tombs (General View of Facade) front."
Glass negative numbered FSA A.4 2.12.GN.38.10; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Naqsh-i Rustam (Iran): Achaemenid Tomb of Xerxes [graphic]
[18(B1)]
FSA A.4 2.12.Sm.09
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran; Architecture; Landscapes). This print is in the following subject category: Architecture - Pre-Islamic.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1654."
- On verso of the print, handwritten number (penciled) reads, "40.10."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Fārs; Naqsh-I Rustam; tomb front facade."
Glass negative numbered FSA A.4 2.12.GN.40.10; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Naqsh-i Rustam (Iran): Achaemenid Tomb of Darius I (foreground) and Xerxes (background) [graphic]
[18(B2)]
FSA A.4 2.12.Sm.10
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran; Architecture; Landscapes). This print is in the following subject category: Architecture - Pre-Islamic.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "598."
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "165."
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1653."
- On verso of the print, handwritten number (penciled) reads, "38.9."
- On verso of the print (lower left and right corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Fārs; Naqsh-I Rustam; tomb side view."
Glass negative numbered FSA A.4 2.12.GN.38.09; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Bishapur (Iran): Sasanian Reliefs Depicting the Triumph of Shapur I over Valerian with Groups of Cavalry and Infantry Saluting the King [graphic]
[18(B3)]
FSA A.4 2.12.Sm.11
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran; Architecture; Landscapes). This print is in the following subject category: Architecture - Pre-Islamic.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "597."
- On verso of the print, handwritten number (penciled) reads, "38.5."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Fārs; Bishapur; bas relief; Triple victory of Shapur I."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Bishapur (Iran): Sasanian Reliefs Showing Bahram II Receiving a Delegation: Detail View of Delegation Bringing Horses and Camels to the King [graphic]
[18(B4)]
FSA A.4 2.12.Sm.12
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran; Architecture; Landscapes). This print is in the following subject category: Architecture - Pre-Islamic.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "830."
- On verso of the print, handwritten number (penciled) reads, "31.11."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Fārs; Bishapur; bas relief; subjection of Arab tribes."
Glass negative numbered FSA A.4 2.12.GN.31.11; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Gelatin silver print numbered FSA A.6 04.27.057; available in Ernst Herzfeld Papers, Series 4: Photographic Files, 1903-1947.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Naqsh-i Rustam (Iran): Sasanian Reliefs Depicting the Triumph of Shapur I over Valerian, and Middle Persian Inscription of the High Priest Kartir (Antoin Sevruguin in Foreground) [graphic]
[A.4.59]
FSA A.4 2.12.Sm.13
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran; Architecture; Landscapes). This print is in the following subject category: Architecture - Pre-Islamic.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "236."
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1657."
- On verso of the print, handwritten number (penciled) reads, "38.6."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Fārs; Naqsh-I Rustam; Rock relief; Triumph of Shapur I."
Glass negative numbered FSA A.4 2.12.GN.38.06; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Naqsh-i Rustam (Iran): Two Sasanian Reliefs Depicting the Investiture of Ardashir I by the God Ahura Mazda (Hormizd) (left) as well as Bahram II and Court, Carved over a Pre-Achaemenid Relief (right) [graphic]
[18(B6)]
FSA A.4 2.12.Sm.14
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran; Architecture; Landscapes). This print is in the following subject category: Architecture - Pre-Islamic.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "225."
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1655."
- On verso of the print, handwritten number (penciled) reads, "29.10."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Fārs; Naqsh-I Rustam; 2 Rock reliefs; Equestrian Investiture of Ardashir I, Bahram II with his family."
Glass negative numbered FSA A.4 2.12.GN.29.10; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Naqsh-i Rustam (Iran): Sasanian Relief Depicting the Equestrian Combat of King Bahram II [graphic]
[18(B7)]
FSA A.4 2.12.Sm.15
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran; Architecture; Landscapes). This print is in the following subject category: Architecture - Pre-Islamic.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "601."
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1663."
- On verso of the print, handwritten number (penciled) reads, "29.8."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Fārs; Naqsh-I Rustam; Rock relief; Bahram II on horseback fighting an adversary."
Glass negative numbered FSA A.4 2.12.GN.29.08; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Naqsh-i Rustam (Iran): Sasanian Reliefs Depicting the Investiture of Narseh by Anahita [graphic]
[18(B8)]
FSA A.4 2.12.Sm.16
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran; Architecture; Landscapes). This print is in the following subject category: Architecture - Pre-Islamic.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1649."
- On verso of the print, handwritten number (penciled) reads, "47.3."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Fārs; Naqsh-I Rustam; Rock relief; Investiture King Narseh by Goddess Anahita."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Naqsh-i Rustam (Iran): Fire Altars [graphic]
[18(B9)]
FSA A.4 2.12.Sm.17
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran; Architecture; Landscapes). This print is in the following subject category: Architecture - Pre-Islamic.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "827."
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1651."
- On verso of the print, handwritten number (penciled) reads, "39.4."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Fārs; Naqsh-I Rustam; fire altars."
Glass negative numbered FSA A.4 2.12.GN.39.04; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Naqsh-i Rustam (Iran): Ka'ba i Zardusht Tower [graphic]
[18(B10)]
FSA A.4 2.12.Sm.18
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran; Architecture; Landscapes). This print is in the following subject category: Architecture - Pre-Islamic.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "570."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Fārs; Naqsh-I Rustam; Achaemenian grave Tower."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Pasargadae (Iran): Mausoleum of Cyrus the Great [graphic]
[Myron Bement Smith collection. Freer/Sackler Archives] [A.4.69]
FSA A.4 2.12.Sm.19
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran; Architecture; Landscapes). This print is in the following subject category: Architecture - Pre-Islamic.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "170."
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "---(?)."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Fārs; Pasargadae; Tomb of Cyrus."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Pasargadae (Iran): Mausoleum of Cyrus the Great [graphic]
[Myron Bement Smith collection. Freer/Sackler Archives] [A.4.68]
FSA A.4 2.12.Sm.20
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran; Architecture; Landscapes). This print is in the following subject category: Architecture - Pre-Islamic.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "474."
- On recto of the print, faded handwritten number (inked, probably by Antoin Sevruguin) reads, "1417."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Fārs; Pasargadae; Tomb of Cyrus."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Persepolis (Iran): Northwestern Corner of Terrace Complex and Outcrops of Unwrought Bedrock [graphic]
[18(C3)]
FSA A.4 2.12.Sm.21
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran; Architecture; Landscapes). This print is in the following subject category: Architecture - Pre-Islamic.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "822."
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1665."
- On verso of the print, handwritten number (penciled) reads, "29.1."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Fārs; Persepolis (Takht-I Djamshīd; Hall of 100 Columns - Area view (see also Negatives N0. 30.12 and 56.6; ruins as a whole."
Glass negative numbered FSA A.4 2.12.GN.29.01; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Gelatin silver print numbered FSA A.6 04.05.v3.001; available in Ernst Herzfeld Papers, Series 4: Photographic Files, 1903-1947.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Persepolis (Iran): Northern Wall of the Throne Hall (Talar-i Takht) [graphic]
[18(C4)]
FSA A.4 2.12.Sm.22
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran; Architecture; Landscapes). This print is in the following subject category: Architecture - Pre-Islamic.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "818."
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "732."
- On verso of the print, handwritten number (penciled) reads, "38.8."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Fārs; Persepolis (Takht-I Djamshīd; Hall of 100 Columns."
Glass negative numbered FSA A.4 2.12.GN.38.08; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Gelatin silver print numbered FSA A.6 04.05.v3.009; available in Ernst Herzfeld Papers, Series 4: Photographic Files, 1903-1947.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Persepolis (Iran): Gate of All Lands (Darvaza-i Milal), Colossal Sculptures Depicting Heads of a Bull [graphic]
[18(C5)]
FSA A.4 2.12.Sm.23
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran; Architecture; Landscapes). This print is in the following subject category: Architecture - Pre-Islamic.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "801."
- On verso of the print, handwritten number (penciled) reads, "31.9."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Fārs; Persepolis (Takht-I Djamshīd; Main gate - colossal bull and columns."
Glass negative numbered FSA A.4 2.12 GN.31.09; available in Myron Bement Smith Collection, ca. 1910-1970.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Persepolis (Iran): Gate of All Lands (Darvaza-i Milal), Colossal Sculptures Depicting Heads of a Bull [graphic]
[Myron Bement Smith collection. Freer/Sackler Archives] [A.4.60]
FSA A.4 2.12.Sm.24
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran; Architecture; Landscapes). This print is in the following subject category: Architecture - Pre-Islamic.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "819."
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1661."
- On verso of the print, handwritten number (penciled) reads, "38.3."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Fārs; Persepolis (Takht-I Djamshīd; Main gate - colossal bull."
Gelatin silver print numbered FSA A.4 2.12.GN.38.03; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Gelatin silver print numbered FSA A.6 04.05.v3.004; available in Ernst Herzfeld Papers, Series 4: Photographic Files, 1903-1947.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Persepolis (Iran): Tachara Palace (Palace of Darius) [graphic]
[18(C7)]
FSA A.4 2.12.Sm.25
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran; Architecture; Landscapes). This print is in the following subject category: Architecture - Pre-Islamic.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "894."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Fārs; Persepolis (Takht-I Djamshīd; gateway - unidentified figures, doorway at treasury."
Glass negative numbered FSA A.4 2.12.GN.35.09; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Persepolis (Iran): Tripylon (Council Hall), Main Hall, West Jamb of Southern Doorway: View of Relief Picturing King and Attendants [graphic]
[18(C8)]
FSA A.4 2.12.Sm.26
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran; Architecture; Landscapes). This print is in the following subject category: Architecture - Pre-Islamic.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "573."
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "---(?)."
- On verso of the print, handwritten number (penciled) reads, "38.1."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Fārs; Persepolis (Takht-I Djamshīd; Relief on door jamb."
Gelatin silver print numbered FSA A.6 04.05.v3.006; available in Ernst Herzfeld Papers, Series 4: Photographic Files, 1903-1947.
Gelatin silver print numbered FSA A.4 2.12.GN.38.01; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Sarre and Herzfeld, Iranische Felsreliefs, Berlin, 1910. p:133-147
Persepolis (Iran): Throne Hall, Northern Wall, East Jamb of Western Doorway: View of Relief Picturing Enthroned King Giving Audience [graphic]
[18(C9)]
FSA A.4 2.12.Sm.27
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran; Architecture; Landscapes). This print is in the following subject category: Architecture - Pre-Islamic.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "248."
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1659."
- On verso of the print, handwritten number (penciled) reads, "30.12."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Fārs; Persepolis (Takht-I Djamshīd; Relief in hall of 100 columns showing Artaxerxes I giving audience. See also negative No. 56.6."
Glass negative numbered FSA A.4 2.12.GN.30.12; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Persepolis (Iran): Throne Hall, Northern Wall, West Jamb of Eastern Doorway: View of Relief Picturing Enthroned King Giving Audience, as well as Registers Picturing Persian and Median Guards [graphic]
[18(C10)]
FSA A.4 2.12.Sm.28
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran; Architecture; Landscapes). This print is in the following subject category: Architecture - Pre-Islamic.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "914."
- On verso of the print, handwritten number (penciled) reads, "56.6."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Fārs; Persepolis (Takht-I Djamshīd; Hall of 100 columns, Artaxerxes I giving audience. See also negative No. 30.12."
Glass negative numbered FSA A.4 2.12.GN.56.06; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs
Gelatin silver print numbered FSA A.6 04.05.v3.007b; available in Ernst Herzfeld Papers, Series 4: Photographic Files, 1903-1947.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Persepolis (Iran): Apadana, North Side, West Wing of Ceremonial Stairway with Reliefs Depicting Tribute Procession [graphic]
[18(D1)]
FSA A.4 2.12.Sm.29
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran; Architecture; Landscapes). This print is in the following subject category: Architecture - Pre-Islamic.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "806."
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "---(?)."
- On verso of the print, handwritten number (penciled) reads, "42.7."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Fārs; Persepolis (Takht-I Djamshīd; Relief of Tribute Procession."
Glass negative numbered FSA A.4 2.12.GN.42.07; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Persepolis (Iran): Tachara Palace (Palace of Darius), Central Facade of Southern Stairway: View of Relief Picturing Persian Guards Flanking Xerxes Inscription, XPcb [graphic]
[18(D2)]
FSA A.4 2.12.Sm.30
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran; Architecture; Landscapes). This print is in the following subject category: Architecture - Pre-Islamic.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "174."
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1668."
- On verso of the print, handwritten number (penciled) reads, "29.7."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Fārs; Persepolis (Takht-I Djamshīd; Sculptured relief at the base of Xerxes Apadana, depicting archers of the imperial bodyguard."
Glass negative numbered FSA A.4 2.12.GN.29.07; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Taq-i Bustan (Iran): Sasanian Rock Reliefs, Large and Small Vaults with Investiture Reliefs of Khusro II and Shaphur III as well as Investiture Relief of Ardashir II on the Right [graphic]
[18(D3)]
FSA A.4 2.12.Sm.31
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran; Architecture; Landscapes). This print is in the following subject category: Architecture - Pre-Islamic.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The Mas'udiyya building, built, most probably around 1860s by Imam Quli Mirza the son of Mohammad Ali Mirza. The building was destroyed in 1964 in order to open the Anahid stream and prepare the site as a Sassanid architecture landmark." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "154."
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "11."
- On recto of the print, faded handwritten number (inked, probably by Antoin Sevruguin) reads, "80."
- On verso of the print, handwritten number (penciled) reads, "39.9."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Kirmānshāh; Ṭaḳ-I Bustān; Cave of Shapur III, view from water."
Glass negative numbered FSA A.4 2.12.GN.39.09; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Taq-i Bustan (Iran): Sasanian Rock Reliefs, Large Vault with Investiture Relief of Khusro II [graphic]
[18(D4)]
FSA A.4 2.12.Sm.32
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran; Architecture; Landscapes). This print is in the following subject category: Architecture - Pre-Islamic.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "814."
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "---(?)."
- On verso of the print, handwritten number (penciled) reads, "39.10 (scratched). 47.4."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Kermanshah; Ṭaḳ-I Bustān; rock relief - Cave of Shapur III, close view."
Glass negative numbered FSA A.4 2.12.GN.47.04; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Taq-i Bustan (Iran): Sasanian Rock Reliefs, Right Side of the Interior of the Large Vault with Investiture Relief of Khusro II: View of Relief Panel Picturing the Stag Hunt [graphic]
[18(D5)]
FSA A.4 2.12.Sm.33
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran; Architecture; Landscapes). This print is in the following subject category: Architecture - Pre-Islamic.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "173."
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "46?."
- On verso of the print, handwritten number (penciled) reads, "39.8."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Kirmānshāh; Ṭaḳ-I Bustān; rock relief - Royal hunting scene, stags."
Glass negative numbered FSA A.4 2.12.GN.39.08; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Glass negative numbered FSA A.4 2.12.GN.47.05; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Taq-i Bustan (Iran): Sasanian Rock Reliefs, Right Side of the Interior of the Large Vault with Investiture Relief of Khusro II: Close View of Relief Panel Picturing the Stag Hunt [graphic]
[18(D6)]
FSA A.4 2.12.Sm.34
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran; Architecture; Landscapes). This print is in the following subject category: Architecture - Pre-Islamic.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On verso of the print, handwritten number (penciled) reads, "52.10."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Kirmanshah; Tak-I Bustan; rock relief - detail of Royal hunting scene, stags."
Glass negative numbered FSA A.4 2.12.GN.52.10; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Taq-i Bustan (Iran): Sasanian Rock Reliefs, Left Side of the Interior of the Large Vault with Investiture Relief of Khusro II: View of Relief Panel Picturing the Boar Hunt [graphic]
[18(D7)]
FSA A.4 2.12.Sm.35
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran; Architecture; Landscapes). This print is in the following subject category: Architecture - Pre-Islamic.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "812."
- On verso of the print, handwritten number (penciled) reads, "39.7."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Kirmānshāh; Ṭaḳ-I Bustān; Rock relief - Royal hunting scene, boars."
Glass negative numbered FSA A.4 2.12.GN.39.07; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Glass negative numbered FSA A.4 2.12.GN.44.06; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Taq-i Bustan (Iran): Sasanian Rock Reliefs: View of Investiture Relief of Ardashir II [graphic]
[18(D8)]
FSA A.4 2.12.Sm.36
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran; Architecture; Landscapes). This print is in the following subject category: Architecture - Pre-Islamic.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "816."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Kirmānshāh; Ṭaḳ-I Bustān; Rock relief - Investiture Ardashir II, front view."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Taq-i Bustan (Iran): Sasanian Rock Reliefs: Side View of Investiture Relief of Ardashir II [graphic]
[18(D9)]
FSA A.4 2.12.Sm.37
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran; Architecture; Landscapes). This print is in the following subject category: Architecture - Pre-Islamic.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "---(?)."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Kirmānshāh; Ṭaḳ-I Bustān; Rock relief - Investiture Ardashir II, side view."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Taq-i Girra (Iran): Sasanian Palace of Sarvistan: View of Arched Door [graphic]
[18(D10)]
FSA A.4 2.12.Sm.38
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran; Architecture; Landscapes). This print is in the following subject category: Architecture - Pre-Islamic.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "481."
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "477."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Kirmānshāh; Ṭāḳ-I Girrā; [Stone Structure in Hills], overall view."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Vicinity of Hamadan (Iran): Sassanid Inscriptions of Ganj-Nama [graphic]
[Myron Bement Smith collection. Freer/Sackler Archives, No. A.4.58]
FSA A.4 2.12.Sm.39
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran; Architecture; Landscapes). This print is in the following subject category: Architecture - Pre-Islamic.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"A Bakhtiari guard posing beside the Sassanid inscriptions of Ganj-nama (in Cuneiform), located close to the city of Hamadan. The two inscriptions were most probably ordered by Darius I and Xerxes I." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "12."
- On recto of the print, faded handwritten number (inked, probably by Antoin Sevruguin) reads, "587."
- On verso of the print, handwritten number (penciled) reads, "47.9."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Hamadān; Gang Nameh [Ganj Nameh]; Curzon i., 566: Trilingual inscriptions relating names and titles of Darius, first due to interpretation of cuneiform in mountain range of Mount Girend near Hamadan."
Glass negative numbered FSA A.4 2.12.GN.47.09; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Vicinity of Shahr-i Ray (Iran): Chasman-i-ali Mound: Qajar Rock Relief Depicting Fath Ali Shah [graphic]
[18(E2)]
FSA A.4 2.12.Sm.40
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran; Architecture; Landscapes). This print is in the following subject category: Architecture - Qajar.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The image is of a rock relief of Qajar period in the route from Tehran to Chishma Ali, one of the Qajar kings' favorite camping spots. The relief echoes the Sassanian tradition of depicting their kings in the rock relief. In the case of this one, Fath Ali Shah is surrounded by sixteen of his sons, the name of each of which is inscribed beside the carved heads. the relief includes two sets of inscriptions: a qasida by Andalib and verses by the head of the chancellery, Mirza Muhammad Taqi Aliabadi (Sahib-i Divan). The relief was ordered in 1830-1831, probably by Fath Ali Shah." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- On recto of the print, faded handwritten number (inked, probably by Antoin Sevruguin) reads, "817."
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "131."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Tehrān; "Chasme Ali? [at Shah Abdul Azim]"; rock relief."
Glass negative numbered FSA A.4 2.12 GN.00.11; available in Myron Bement Smith Collection, ca. 1910-1970.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Vicinity of Shahr-i Ray (Iran): Qajar Rock Relief Depicting Fath Ali Shah at Sorsorre [graphic]
[18(E3)]
FSA A.4 2.12.Sm.41
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran; Architecture; Landscapes). This print is in the following subject category: Architecture - Qajar.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "326."
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "60."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Tehran; Chasme Ali?; rock relief [Qajar bas relief]."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Vicinity of Tangah-i Band-Buridah (Iran): Qajar Rock Relief from the Time of Nasir al-Din Shah Commemorating the Reconstruction of the Old Road to Mazandaran [graphic]
[18(E4)]
FSA A.4 2.12.Sm.42
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran); Architecture; Landscapes). This print is in the following subject category: Architecture - Qajar.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "728."
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "---(?)."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Tehran; Chasme Ali?; rock relief."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Tehran (Iran): Kakh-i Gulistan (Gulistan Palace Complex), Imarat-i Badgir (Wind-catcher Building) [graphic]
[18(E6)]
FSA A.4 2.12.Sm.43
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran); Architecture; Landscapes). This print is in the following subject category: Royalty - Residences - Gulistan Palace (Tehran).
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "253."
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1145."
- On verso of the print, handwritten number (penciled) reads, "29.11."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Tehran; Amaret-i Badg'r, part of Gulistan complex. Publication history: Fevrier, Docteur. Trois ans à la Cour de Perse (Paris, n.d.) pages 137, 139."
Glass negative numbered FSA A.4 2.12.GN.29.11; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Albumen print numbered FSA A2011.03 B.18; available in Stephen Arpee Collection of Sevruguin Photographs.
Albumen print numbered FSA A2011.03 A.13a; available in Stephen Arpee Collection of Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Tehran (Iran): Kakh-i Gulistan, Salon and Thrones [graphic]
[18(E9)]
FSA A.4 2.12.Sm.44
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran); Architecture; Landscapes). This print is in the following subject category: Royalty - Residences - Gulistan Palace (Tehran).
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On recto of the print, faded handwritten number (inked, probably by Antoin Sevruguin) reads, "798."
- On recto of the print, faded handwritten number (inked, probably by Antoin Sevruguin) reads, "40."
- On recto of the print, faded handwritten number (inked, probably by Antoin Sevruguin) reads, "639."
- On verso of the print, handwritten number (penciled) reads, "49.6."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Tehran; [Golestan Palace hall] interior. "Salon and Thrones at Gulistan Palace."
Glass negative numbered FSA A.4 2.12.GN.49.06; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Tehran (Iran): Kakh-i Gulistan (Gulistan Palace), Dari-Ahmasi [graphic]
[18(E7)]
FSA A.4 2.12.Sm.82
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran); Architecture; Landscapes). This print is in the following subject category: Royalty - Residences - Gulistan Palace (Tehran).
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "122."
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "1494."
- On verso of the print, handwritten number (penciled) reads, "28.2."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Tehran; Dari Ahmasi according to label or Gulestan Palace; Unidentified Qajar building."
Glass negative numbered FSA A.4 2.12.GN.28.02; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Tus (Iran): Haruniya Mausoleum [graphic]
[19(D3)]
FSA A.4 2.12.Sm.76
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran); Architecture; Landscapes). This print is in the following subject category: Architecture.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"Built in mid 14th century on the road to Mashhad, the tomb houses a Mihrab inside. The photograph is the view towards north and from the southern façade of the structure." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "711."
- On recto of the print, faded handwritten number (inked, probably by Antoin Sevruguin) reads, "267."
- On verso of the print, handwritten number (penciled) reads, "26.9."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Khorasan; Tus; Mausoleum "Hauriyaniyeh"; Vol. I, Index to Sevruguian Collection identifies this as: "Imamzadeh Hauraniyeh (sic) in Tus"."
Glass negative numbered FSA A.4 2.12.GN.26.09; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Bistam (Iran): Mausoleum Complex of Sheikh Bayezid Bastami: General View of the Mausoleum of Imamzada Muhammad Bistam Mirza [graphic]
[19(D4)]
FSA A.4 2.12.Sm.77
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran); Architecture; Landscapes). This print is in the following subject category: Architecture.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "---(?)."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Azarbaijan; (Bastam); Shrine of Bayazid Al Bastami."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Bistam (Iran): Mausoleum Complex of Sheikh Bayezid Bastami: General View of the Mausoleum of Imamzada Muhammad Bistam Mirza [graphic]
[19(D5)]
FSA A.4 2.12.Sm.78
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran); Architecture; Landscapes). This print is in the following subject category: Architecture.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1149."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Shahrud Bustam; Bustam (Bistam, Bostam); Shrine of Bayazid Al Bastami."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Bistam (Iran): Mausoleum Complex of Sheikh Bayezid Bastami: Seljuk Minaret on the Foreground [graphic]
[19(D6)]
FSA A.4 2.12.Sm.79
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran); Architecture; Landscapes). This print is in the following subject category: Architecture.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "192."
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "335."
- On verso of the print, handwritten number (penciled) reads, "36.7."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Shahrud Bustam; Bustam; Shrine of Bayazid Al Bastami; view of minaret."
Glass negative numbered FSA A.4 2.12.GN.36.07; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Vicinity of Rasht (Iran): Safavid Bridge and Tower [graphic]
[19(D8)]
FSA A.4 2.12.Sm.80
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran); Architecture; Landscapes). This print is in the following subject category: Landscape.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The bridge is the subject matter of the photo which has been taken from a position that allows for the whole structure to fir in the boundaries of the image. The figures on top of the bridge bring a sense of scale to the image. On top of the bridge there are two shadows in the same spot. There are of the same person moving. The same can be said about the shadow on the foot of the bridge." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "433."
- On verso of the print, handwritten number (penciled) reads, "46.5."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Gīlān; Rasht; Bridge."
Glass negative numbered FSA A.4 2.12 GN.00.10; available in Myron Bement Smith Collection, ca. 1910-1970.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Gulhak (Iran): Garden in Diplomatic Compound [graphic]
[19(D9)]
FSA A.4 2.12.Sm.81
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran); Architecture; Landscapes). This print is in the following subject category: Landscape.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On verso of the print, handwritten number (penciled) reads, "46.2."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Path by Stream; "German embassy property in Gulhak"."
Glass negative numbered FSA A.4 2.12.GN.46.02; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Ardabil (Iran): Sheikh Safi al-din Khanegah and Shrine Ensemble [graphic]
[19(A2)]
FSA A.4 2.12.Sm.45
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran); Architecture; Landscapes). This print is in the following subject category: Architecture.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "274."
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1035."
- On verso of the print, handwritten number (penciled) reads, "36.8."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Azerbaijan; Ardebil; Mosque - Shrine of Shaikh Ṣafī Al-Din."
Glass negative numbered FSA A.4 2.12.GN.36.08; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Tabriz (Iran): Masjid-i Muzaffariyya (Masjid-i Kabud, Blue Mosque): Interior View toward the Entrance [graphic]
[19(A3)]
FSA A.4 2.12.Sm.46
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran); Architecture; Landscapes). This print is in the following subject category: Architecture.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "463."
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "---(?)."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Azerbaijan; Tabriz; Mosque of Djahan Shah (Blue Mosque)."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Tabriz (Iran): Masjid-i Muzaffariyya (Masjid-i Kabud, Blue Mosque): View of the Entrance Portal [graphic]
[19(A4)]
FSA A.4 2.12.Sm.47
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran); Architecture; Landscapes). This print is in the following subject category: Architecture.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "507."
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1039."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Azerbaijan; Tabriz; Mosque of Djahan Shah (Blue Mosque)."
Glass negative numbered FSA A.4 2.12.GN.46.19; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Tabriz (Iran): Masjid-i Muzaffariyya (Masjid-i Kabud, Blue Mosque): Interior View toward the Left Corner of the Entrance [graphic]
[19(A5)]
FSA A.4 2.12.Sm.48
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran); Architecture; Landscapes). This print is in the following subject category: Architecture.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "540."
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1036."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Azerbaijan; Tabriz; Mosque of Djahan Shah (Blue Mosque); NE Iwan general view."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Tabriz (Iran): Masjid-i Muzaffariyya (Masjid-i Kabud, Blue Mosque): Interior View toward the Small Domed Sanctuary [graphic]
[19(A6)]
FSA A.4 2.12.Sm.49
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran); Architecture; Landscapes). This print is in the following subject category: Architecture.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "---(?)."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Azerbaijan; Tabriz; Mosque of Djahan Shah (Blue Mosque); small iwan."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Hamadan (Iran): Gunbad-i Alaywian: View of Mausoleum's Northeast Facade [graphic]
[19(A7)]
FSA A.4 2.12.Sm.50
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran); Architecture; Landscapes). This print is in the following subject category: Architecture.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "---(?)."
- On verso of the print, handwritten number (penciled) reads, "36.6."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Hamadan; Hamadan; Gumbadh-i ʿAlawiyyân; Exterior, Front, General View."
Glass negative numbered FSA A.4 2.12.GN.36.06; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Damghan (Iran): Minaret of Masjid-i Juma (Friday Mosque) [graphic]
[19(A8)]
FSA A.4 2.12.Sm.51
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran); Architecture; Landscapes). This print is in the following subject category: Architecture.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On verso of the print, handwritten number (penciled) reads, "31.8."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Khorasan; Minaret of great mosque (Masjid-i Juma)."
Glass negative numbered FSA A.4 2.12 GN.31.08; available in Myron Bement Smith Collection, ca. 1910-1970.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Mashad (Iran): Imam Reza Shrine Complex: Gawhar Shad Mosque [graphic]
[19(A9)]
FSA A.4 2.12.Sm.52
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran); Architecture; Landscapes). This print is in the following subject category: Architecture.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The photo depicts a crowd in the courtyard of Gawharshad mosque in Mashhad. The Timurid structure was orderd by Gawharshad Agha, Timurid king Shahrukh's wife, and built in 1418. The architect of the building is known as Ustad Ghavam al-Din Shirazi." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- On verso of the print, handwritten number (penciled) reads, "3.4."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Khorasan; Meshed (?); Mosque of Gawher Shad; archades."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Mashad (Iran): Imam Reza Shrine Complex: Gawhar Shad Mosque [graphic]
[19(A10)]
FSA A.4 2.12.Sm.53
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran); Architecture; Landscapes). This print is in the following subject category: Architecture.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "704."
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1184."
- On verso of the print, handwritten number (penciled) reads, "32.2."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Khorasan; Meshed (?); Mosque of gawher Shad; dome."
Glass negative numbered FSA A.4 2.12.GN.32.02; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Qum (Iran): Gunbad-i Sabz: View of Seljuk Octogonal Brick Structures [graphic]
[19(B1)]
FSA A.4 2.12.Sm.54
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran); Architecture; Landscapes). This print is in the following subject category: Architecture.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "107."
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1608."
- On verso of the print, handwritten number (penciled) reads, "31.3."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Qum; Imamzadeh."
Glass negative numbered FSA A.4 2.12.GN.31.03; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Qum (Iran): Hazrat-i Ma'suma Shrine Complex and Islamic Cemetery in the Foreground [graphic]
[19(B2)]
FSA A.4 2.12.Sm.55
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran); Architecture; Landscapes). This print is in the following subject category: Architecture.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On verso of the print, handwritten number (penciled) reads, "26.12."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Qum; Shrine, Fatima al-MaʿSuma. g.v1."
Glass negative numbered FSA A.4 2.12.GN.26.12; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Qum (Iran): Hazrat-i Ma'suma Shrine Complex: View of the Mirror Iwan [graphic]
[19(B3)]
FSA A.4 2.12.Sm.56
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran); Architecture; Landscapes). This print is in the following subject category: Architecture.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "1093."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Qum; Shrine of Fatima al-MaʿSuma, north facade."
Glass negative numbered FSA A.4 2.12.GN.54.04; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Qum (Iran): Hazrat-i Ma'suma Shrine Complex: View of the Mirror Iwan [graphic]
[19(B4)]
FSA A.4 2.12.Sm.57
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran); Architecture; Landscapes). This print is in the following subject category: Architecture.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "1136."
- On verso of the print, handwritten number (penciled) reads, "17.1."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Qum; Shrine of Fatima al-MaʿSuma, north facade."
Glass negative numbered FSA A.4 2.12.GN.17.01; available in Myron Bement Smith Collection, ca. 1910-1970.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Qum (Iran): Hazrat-i Ma'suma Shrine Complex [graphic]
[19(B5)]
FSA A.4 2.12.Sm.58
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran); Architecture; Landscapes). This print is in the following subject category: Architecture.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "66."
- On verso of the print, handwritten number (penciled) reads, "35.3."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Qum; Shrine of Fatima al-MaʿSuma."
Glass negative numbered FSA A.4 2.12.GN.35.02; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Qum (Iran): Hazrat-i Ma'suma Shrine Complex: View of Courtyard [graphic]
[19(B6)]
FSA A.4 2.12.Sm.59
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran); Architecture; Landscapes). This print is in the following subject category: Architecture.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "645."
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1607."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Qum; Shrine of Fatima al-MaʿSuma; Courtyard."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Qum (Iran): Ali bin Ja'far al-Sadiq Imamzade [graphic]
[19(B7)]
FSA A.4 2.12.Sm.60
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran); Architecture; Landscapes). This print is in the following subject category: Architecture.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The Ilkhanid tomb was built in the earlier years of 14th century. It has a sixteen-sided tent or Sugarcone dome." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1606."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Unidentified Mosque."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Qazvin (Iran) :Rear View of Friday Mosque (Masjid-i Jami'-i Qazvin) [graphic]
[19(B8)]
FSA A.4 2.12.Sm.61
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran); Architecture; Landscapes). This print is in the following subject category: Architecture.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "167."
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "476."
- On verso of the print, handwritten number (penciled) reads, "33.6 (scratched); 33.5."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Kashan(?) Mosque."
Glass negative numbered FSA A.4 2.12.GN.33.05; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Baghdad (Iraq): Mashhad al-Kazimiya [graphic]
[19(B9)]
FSA A.4 2.12.Sm.62
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran); Architecture; Landscapes). This print is in the following subject category: Architecture.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "663."
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "734."
- On verso of the print, handwritten number (penciled) reads, "37.1."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Kasemain(?) Mosque."
Glass negative numbered FSA A.4 2.12.GN.37.01; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Unidentified Fortifications, Possibly Part of a City Enclosure [graphic]
[19(B10)]
FSA A.4 2.12.Sm.63
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran); Architecture; Landscapes). This print is in the following subject category: Architecture.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "2-2."
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "---(?)."
- On verso of the print, handwritten number (penciled) reads, "33.6 (scratched); 44.9."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Shiraz(?)."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Kashan (Iran): View of the Bazaar Complex Domed Rooftop [graphic]
[19(C1)]
FSA A.4 2.12.Sm.64
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran); Architecture; Landscapes). This print is in the following subject category: Architecture.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "462."
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "1615."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Kashan(?); rounded roof tops."
Glass negative numbered FSA A.4 2.12 GN.00.12; available in Myron Bement Smith Collection, ca. 1910-1970.
Glass negative numbered FSA A.4 2.12.GN.49.05; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Ctesiphon (Iraq): Taq-i Kisra (Arch of Khusrow) [graphic]
[19(C4)]
FSA A.4 2.12.Sm.65
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran); Architecture; Landscapes). This print is in the following subject category: Architecture.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "---(?)."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Irak; Ctesiphon (Taq-E-Kisra)."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Ashraf or Behshahr (Iran): Summer Palace of Saahib-i Zaman [graphic]
[19(C3)]
FSA A.4 2.12.Sm.66
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran); Architecture; Landscapes). This print is in the following subject category: Architecture.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The Safavid Architecture depicted in ruins was built on the orders of Shah Abbas." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1156."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Mazanderan; Ashraf; Palace (ruin) in Bagh Sahib-Zeman (Sarre)."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Ashraf or Behshahr (Iran): Palace in Bagh-i Chashma [graphic]
[19(C2)]
FSA A.4 2.12.Sm.67
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran); Architecture; Landscapes). This print is in the following subject category: Architecture.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
"The Safavid Architecture depicted in ruins was built on the orders of Shah Abbas." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "---(?)."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Mazanderan; Ashraf; Palace (ruin) in Bagh-i-tschschme (Sarre)."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Maragha (Iran): Gunbad-i Qabud [graphic]
[19(C5)]
FSA A.4 2.12.Sm.68
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran); Architecture; Landscapes). This print is in the following subject category: Architecture.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Adharbaidjan; Marāgheh [Maragha]; Gunbad-i Kābūd; 593 H. (1196-1197 A.D.); Tomb Tower."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Salmas (Iran): Tomb of Emir Arghun Agha's Daughter [graphic]
[19(C6)]
FSA A.4 2.12.Sm.69
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran); Architecture; Landscapes). This print is in the following subject category: Architecture.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "---(?)."
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1268."
- On verso of the print, handwritten number (penciled) reads, "33.6 (scratched); 47.2."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Adharbaidjan; Salmas; Grave of a daughter of the Amir Arghun of Radkan, wife of Wazir Taj al-Din 'Ali Shah; the date is 700-710 H.; This monument fell in the ca. 1931 earthquake."
Glass negative numbered FSA A.4 2.12.GN.47.02; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Ardabil (Iran): Sheikh Safi al-din Khanegah and Shrine Ensemble: Exterior View of Sheikh Safi Tomb [graphic]
[19(C7)]
FSA A.4 2.12.Sm.70
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran); Architecture; Landscapes). This print is in the following subject category: Architecture.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "187."
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "---(?)."
- On verso of the print, handwritten number (penciled) reads, "31.7."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Azerbaijan; Ardebil; Mosque - Shrine of Shaikh Ishāk Ṣafī Al-Dīn; Exterior view of tomb chamber, south facade."
Glass negative numbered FSA A.4 2.12 GN.31.07; available in Myron Bement Smith Collection, ca. 1910-1970.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Shiraz (Iran): Tomb of the Poet Hafez (Hafiz) [graphic]
[19(C8)]
FSA A.4 2.12.Sm.71
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran); Architecture; Landscapes). This print is in the following subject category: Architecture.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "832."
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "---(?)."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Fars; Shiraz, Tomb of Hafiz; 2 men sitting on carved stones graves?"
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Vicinity of Shiraz (Iran): Tomb of the Poet Sa'adie (Saadi) [graphic]
[19(C9)]
FSA A.4 2.12.Sm.72
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran); Architecture; Landscapes). This print is in the following subject category: Architecture.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "411."
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1640."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Shiraz(?) area, Caravanserai (near Shiraz?)."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Shiraz (Iran): Unidentified Tomb Complex [graphic]
[19(C10)]
FSA A.4 2.12.Sm.73
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran); Architecture; Landscapes). This print is in the following subject category: Architecture.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "201."
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "---(?)."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Fars; Tomb of, view to North, to Allah Akbar gate."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Naqsh-i Rustam (Iran): Achaemenid Tomb of Darius I: Inside View of Vault [graphic]
[19(D1)]
FSA A.4 2.12.Sm.74
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran); Architecture; Landscapes). This print is in the following subject category: Architecture.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "61."
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "---(?)."
- On verso of the print, handwritten number (penciled) reads, "29.6."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Fars."
Glass negative numbered FSA A.4 2.12.GN.29.06; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Hamadan (Iran): Mausoleum of Esther and Mordecai [graphic]
[19(D2)]
FSA A.4 2.12.Sm.75
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran); Architecture; Landscapes). This print is in the following subject category: Architecture.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "---(?)."
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "---(?)."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Hamadan; Hamadan; Tomb of Esther and Mordechai."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Tabriz (Iran): Masjid-i Muzaffariyya: Interior View toward the Entrance [graphic]
FSA A.4 2.12.Sm.83
16 unaccounted Gelatin silver prints in Myron Bement Smith Collection have been identified as Sevruguin's photographic prints. They will now be part of Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs. Consequently, the physical items have been transferred to Box 5, folder 20 (subject category: unaccounted prints).
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "---(?)."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Azerbaijan; Tabriz; Mosque of Djāhān Shāh (Blue Mosque); NE Iwan, general view."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Naqsh-i Rustam (Iran): Achaemenid Tomb of Darius I: Interior View of Vestibule with Vault on Right [graphic]
FSA A.4 2.12.Sm.84
16 unaccounted Gelatin silver prints in Myron Bement Smith Collection have been identified as Sevruguin's photographic prints. They will now be part of Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs. Consequently, the physical items have been transferred to Box 5, folder 20 (subject category: unaccounted prints).
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "1650."
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "569."
- On verso of the print, handwritten number (penciled) reads, "30.11."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Fārs."
Glass negative numbered FSA A.4 2.12.GN.30.11; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Isfahan (Iran): Madrasa-i Madar-i Shah: View of Entrance Iwan from the Chahar Bagh [graphic]
FSA A.4 2.12.Sm.85
16 unaccounted Gelatin silver prints in Myron Bement Smith Collection have been identified as Sevruguin's photographic prints. They will now be part of Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs. Consequently, the physical items have been transferred to Box 5, folder 20 (subject category: unaccounted prints).
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "475."
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "---(?)."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Isfahan; Isfahan; Madrasah-I Mādar-I Shāh."
Albumen print numbered FSA A2011.03 A.15a; available in Stephen Arpee Collection of Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Shahr-i Ray (Iran): North side of Naqar Khana, Tomb Tower [graphic]
FSA A.4 2.12.Sm.86
16 unaccounted Gelatin silver prints in Myron Bement Smith Collection have been identified as Sevruguin's photographic prints. They will now be part of Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs. Consequently, the physical items have been transferred to Box 5, folder 20 (subject category: unaccounted prints).
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "---(?)."
- On verso of the print, handwritten number (penciled) reads, "26.8."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Teheran; Rayy; Tower on edge of Rayy."
Glass negative numbered FSA A.4 2.12.GN.26.08; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Unidentified Building [graphic]
FSA A.4 2.12.Sm.87
16 unaccounted Gelatin silver prints in Myron Bement Smith Collection have been identified as Sevruguin's photographic prints. They will now be part of Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs. Consequently, the physical items have been transferred to Box 5, folder 20 (subject category: unaccounted prints).
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "439."
- On verso of the print, handwritten number (penciled) reads, "45.4."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Susa(?)."
Glass negative numbered FSA A.4 2.12.GN.45.04; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Lustre-Painted Ceramic Dish [graphic]
FSA A.4 2.12.Sm.88
16 unaccounted Gelatin silver prints in Myron Bement Smith Collection have been identified as Sevruguin's photographic prints. They will now be part of Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs. Consequently, the physical items have been transferred to Box 5, folder 20 (subject category: unaccounted prints).
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- "By the second half of the twelfth century, the production of lustre-painted ceramics, an invention of potters in ninth-century Iraq, had been adopted in Iran. In Kashan, the principal city associated with lustreware, this tradition reached new levels of artistic and technical sophistication that were never equaled elsewhere."
"This plate, regarded as one of the masterpieces of lustreware, is decorated with an highly unusual and complex composition. According to one interpretation it represents a mystical allegory in which a mystic, the sleeping youth, yearns to transcend the material world (signified by the horse) in order to reach a vision of divine beauty (symbolized by the naked woman floating in the fish pond) and union with God." [The Arthur M. Sackler Gallery and the Freer Gallery of Art]
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "[lustre dish, Prince Khusraw discovers Shirin bathing. Signed ʿSayyid Shaws ad-Din al Hasaniʼ. Kashan, c. 1210. plate 65. Islamic art, by David Talbot Rice.]."
Glass negative numbered FSA A.4 2.12.GN.35.01; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Silver-Inlaid Copper Tray with Inscriptions Depicting Signs of Zodiac, Kakh-i Gulistan, Tehran (Iran) [graphic]
FSA A.4 2.12.Sm.89
16 unaccounted Gelatin silver prints in Myron Bement Smith Collection have been identified as Sevruguin's photographic prints. They will now be part of Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs. Consequently, the physical items have been transferred to Box 5, folder 20 (subject category: unaccounted prints).
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
Glass negative numbered FSA A.6 04.GN.1357; available in Ernst Herzfeld Papers; Also located at Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Smithsonian Institution
Glass negative numbered FSA A.6 04.GN.1358; available in Ernst Herzfeld Papers; Also located at Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Smithsonian Institution
Glass negative numbered FSA A.6 04.GN.1359; available in Ernst Herzfeld Papers; Also located at Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Smithsonian Institution
Glass negative numbered FSA A.6 04.GN.1360; available in Ernst Herzfeld Papers; Also located at Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Smithsonian Institution
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Three Vessels with Elaborate Ornamentation [graphic]
FSA A.4 2.12.Sm.90
16 unaccounted Gelatin silver prints in Myron Bement Smith Collection have been identified as Sevruguin's photographic prints. They will now be part of Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs. Consequently, the physical items have been transferred to Box 5, folder 20 (subject category: unaccounted prints).
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
Glass negative numbered FSA A.4 2.12.GN.26.05; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Vessel with Elaborate Ornamentation [graphic]
FSA A.4 2.12.Sm.91
16 unaccounted Gelatin silver prints in Myron Bement Smith Collection have been identified as Sevruguin's photographic prints. They will now be part of Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs. Consequently, the physical items have been transferred to Box 5, folder 20 (subject category: unaccounted prints).
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On verso of the print, handwritten number (probably by Myron Bement Smith) reads, "4.6."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Exterior of Minai Bowl [graphic]
FSA A.4 2.12.Sm.92
16 unaccounted Gelatin silver prints in Myron Bement Smith Collection have been identified as Sevruguin's photographic prints. They will now be part of Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs. Consequently, the physical items have been transferred to Box 5, folder 20 (subject category: unaccounted prints).
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On verso of the print, handwritten number (probably by Myron Bement Smith) reads, "4.6."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
Glass negative numbered FSA A.4 2.12.GN.04.06; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Figural Ornamentation on Base of Minai Bowl [graphic]
FSA A.4 2.12.Sm.93
16 unaccounted Gelatin silver prints in Myron Bement Smith Collection have been identified as Sevruguin's photographic prints. They will now be part of Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs. Consequently, the physical items have been transferred to Box 5, folder 20 (subject category: unaccounted prints).
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On verso of the print, handwritten number (probably by Myron Bement Smith) reads, "11.3."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
Glass negative numbered FSA A.4 2.12.GN.11.03; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Interior of Bowl with Animal Design [graphic]
FSA A.4 2.12.Sm.94
16 unaccounted Gelatin silver prints in Myron Bement Smith Collection have been identified as Sevruguin's photographic prints. They will now be part of Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs. Consequently, the physical items have been transferred to Box 5, folder 20 (subject category: unaccounted prints).
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On verso of the print, handwritten number (probably by Myron Bement Smith) reads, "6.2."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "[Bowl with bird, stags and lions. Sgraffito ware. plate 62. Islamic Art, by David Talbot Rice.]."
Glass negative numbered FSA A.4 2.12.GN.06.02; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Samarkand (Uzbekistan): Gur-i Amir Complex: View of Northeastern Corner with Iwan Added in the Seventeenth Century [graphic]
FSA A.4 2.12.Sm.95
16 unaccounted Gelatin silver prints in Myron Bement Smith Collection have been identified as Sevruguin's photographic prints. They will now be part of Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs. Consequently, the physical items have been transferred to Box 5, folder 20 (subject category: unaccounted prints).
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Russian Turkistan; Gur Emir (?)."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Hajiabad (Iran): Pahlavi Inscriptions [graphic]
FSA A.4 2.12.Sm.96
16 unaccounted Gelatin silver prints in Myron Bement Smith Collection have been identified as Sevruguin's photographic prints. They will now be part of Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs. Consequently, the physical items have been transferred to Box 5, folder 20 (subject category: unaccounted prints).
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "1006."
- On verso of the print, handwritten number (penciled) reads, "57.7."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Fārs; Hadjdjabad (?); Inscriptions carved in rock."
Glass negative numbered FSA A.4 2.12.GN.57.07; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Isfahan (Iran): Madrasa-i Madar-i Shah: View of Door with Geometrical Ornamentation and Arabic Inscriptions [graphic]
FSA A.4 2.12.Sm.97
16 unaccounted Gelatin silver prints in Myron Bement Smith Collection have been identified as Sevruguin's photographic prints. They will now be part of Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs. Consequently, the physical items have been transferred to Box 5, folder 20 (subject category: unaccounted prints).
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Isfahan; Isfahan; Madrasah-I Mādar-I Shāh."
Glass negative numbered FSA A.4 2.12.GN.50.02; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Persepolis (Iran): Harem of Xerxes, Central Section of the Main Wing, Eastern Wall of Main Hall, North Jamb of Doorway: View of Relief Picturing Royal Hero Stabbing a Rampant Griffin [graphic]
FSA A.4 2.12.Sm.98
16 unaccounted Gelatin silver prints in Myron Bement Smith Collection have been identified as Sevruguin's photographic prints. They will now be part of Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs. Consequently, the physical items have been transferred to Box 5, folder 20 (subject category: unaccounted prints).
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "976."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persepolis - Doorway of the Tachara or winter palace - Bas-relief of struggle between King and monster."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
66 black-and-white gelatin silver photoprints, unmounted, were a gift from Joseph Upton, received by the committee for Islamic Culture, as reported in their official minutes of October 24, 1953. The 66 photoprints were initially purchased by Joseph Upton in 1928 from Antoin Sevruguin in Tehran.
Fishermen at a Landing [graphic]
58.G.8
[16(B4)]
FSA A.4 2.12.Up.08
Gelatin silver prints arranged in sequential number following Joseph Upton's handwritten list of captions, and ultimately organized by Myron B. Smith into subject categories (royalty, people, executions, criminals, punishment, architecture). This print is in the following subject category: People.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Joseph Upton purchased 66 black-and-white gelatin silver photoprints in 1928 from Antoin Sevruguin in Tehran (Iran), and subsequently donated them to the Committee for Islamic Culture, as reported in their official minutes of October 24, 1953.
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "158."
- On recto of the print, scratched handwritten number (penciled) reads, "4??."
- On verso of the print, handwritten caption (penciled, probably by Antoin Sevruguin) in French reads, "Pahlévi."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Money dealer or "Sarraf" [graphic]
58.G.1
[Myron Bement Smith collection. Freer/Sackler Archives, No. A.4.20]
[16(C1)]
FSA A.4 2.12.Up.01
Gelatin silver prints arranged in sequential number following Joseph Upton's handwritten list of captions, and ultimately organized by Myron B. Smith into subject categories (royalty, people, executions, criminals, punishment, architecture). This print is in the following subject category: People.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Joseph Upton purchased 66 black-and-white gelatin silver photoprints in 1928 from Antoin Sevruguin in Tehran (Iran), and subsequently donated them to the Committee for Islamic Culture, as reported in their official minutes of October 24, 1953.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "1057."
- On verso of the print, handwritten caption (penciled, probably by Antoin Sevruguin) in French reads, "Banquier."
- On verso of the print, handwritten caption (penciled) in English reads, "Banker."
- On verso of the print, additional handwritten caption (penciled) in English reads, "Please return to Mr. Upton. Modern Scribe. Persian."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Ice Cream Vendor, at Maydan-i Mashq (Shooting Range), Tehran (Iran) [graphic]
58.G.9
[Myron Bement Smith collection. Freer/Sackler Archives, No. A.4.48]
FSA A.4 2.12.Up.09
Gelatin silver prints arranged in sequential number following Joseph Upton's handwritten list of captions, and ultimately organized by Myron B. Smith into subject categories (royalty, people, executions, criminals, punishment, architecture). This print is in the following subject category: People.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Joseph Upton purchased 66 black-and-white gelatin silver photoprints in 1928 from Antoin Sevruguin in Tehran (Iran), and subsequently donated them to the Committee for Islamic Culture, as reported in their official minutes of October 24, 1953.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "139."
- On verso of the print, handwritten number (penciled) reads, "200."
- On verso of the print, handwritten caption (penciled, probably by Antoin Sevruguin) in French reads, "La glace."
Gelatin silver print numbered FSA A.4 2.12.Sm.01; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Ta'ziya Performance at the Takkiya Dawlat, Tehran (Iran) [graphic]
58.G.2
[Myron Bement Smith collection. Freer/Sackler Archives, No. A.4.29]
[16(D9)]
FSA A.4 2.12.Up.02
Gelatin silver prints arranged in sequential number following Joseph Upton's handwritten list of captions, and ultimately organized by Myron B. Smith into subject categories (royalty, people, executions, criminals, punishment, architecture). This print is in the following subject category: People.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Joseph Upton purchased 66 black-and-white gelatin silver photoprints in 1928 from Antoin Sevruguin in Tehran (Iran), and subsequently donated them to the Committee for Islamic Culture, as reported in their official minutes of October 24, 1953.
- On verso of the print, handwritten caption (penciled, probably by Antoin Sevruguin) in French reads, "Le théatre religieux."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.s
Portrait of Two Kurdish Women in Elaborate Costume [graphic]
58.G.5
[Myron Bement Smith collection. Freer/Sackler Archives, No. A.4.34]
FSA A.4 2.12.Up.05
Gelatin silver prints arranged in sequential number following Joseph Upton's handwritten list of captions, and ultimately organized by Myron B. Smith into subject categories (royalty, people, executions, criminals, punishment, architecture). This print is in the following subject category: People.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Joseph Upton purchased 66 black-and-white gelatin silver photoprints in 1928 from Antoin Sevruguin in Tehran (Iran), and subsequently donated them to the Committee for Islamic Culture, as reported in their official minutes of October 24, 1953.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "529."
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "515."
- On recto of the print, faded handwritten number (inked, probably by Antoin Sevruguin) reads, "266."
- On verso of the print, handwritten number (penciled) reads, "216."
- On verso of the print, handwritten caption (penciled, probably by Antoin Sevruguin) in French reads, "Juives."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Street Scene with Horse-Pulled Trollies and People [graphic]
58.G.7
[17(B3)]
FSA A.4 2.12.Up.07
Gelatin silver prints arranged in sequential number following Joseph Upton's handwritten list of captions, and ultimately organized by Myron B. Smith into subject categories (royalty, people, executions, criminals, punishment, architecture). This print is in the following subject category: Architecture.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Joseph Upton purchased 66 black-and-white gelatin silver photoprints in 1928 from Antoin Sevruguin in Tehran (Iran), and subsequently donated them to the Committee for Islamic Culture, as reported in their official minutes of October 24, 1953.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "262."
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "---(?)."
- On verso of the print, handwritten number (penciled) reads, "78."
- On verso of the print, handwritten caption (penciled, probably by Antoin Sevruguin) in French reads, "Sar tchechmé (ancienne rue de Tehéran)."
- On verso of the print, handwritten caption (penciled) in English reads, "Teheran."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Gas Street in Tehran (Iran) [graphic]
58.G.6
[Myron Bement Smith collection. Freer/Sackler Archives, No. A.4.4]
FSA A.4 2.12.Up.06
Gelatin silver prints arranged in sequential number following Joseph Upton's handwritten list of captions, and ultimately organized by Myron B. Smith into subject categories (royalty, people, executions, criminals, punishment, architecture). This print is in the following subject category: Architecture.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Joseph Upton purchased 66 black-and-white gelatin silver photoprints in 1928 from Antoin Sevruguin in Tehran (Iran), and subsequently donated them to the Committee for Islamic Culture, as reported in their official minutes of October 24, 1953.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "255."
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "---(?)."
- On verso of the print, handwritten caption (penciled, probably by Antoin Sevruguin) in French reads, "La Rue du Gaz."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Ruins of Sassanid Bridge and Water Mills at Dizful (Iran) [graphic]
58.G.3
[17(C1)]
FSA A.4 2.12.Up.03
Gelatin silver prints arranged in sequential number following Joseph Upton's handwritten list of captions, and ultimately organized by Myron B. Smith into subject categories (royalty, people, executions, criminals, punishment, architecture). This print is in the following subject category: Architecture.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Joseph Upton purchased 66 black-and-white gelatin silver photoprints in 1928 from Antoin Sevruguin in Tehran (Iran), and subsequently donated them to the Committee for Islamic Culture, as reported in their official minutes of October 24, 1953.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "234."
- On verso of the print, handwritten caption (penciled, probably by Antoin Sevruguin) in French reads, "Chouchtar."
- On verso of the print, handwritten caption (penciled) in English reads, "Shustar (the bridge)."
Glass negative numbered FSA A.4 2.12.GN.30.06; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Safid Rud Valley [graphic]
58.G.4
[17(C4)]
FSA A.4 2.12.Up.04
Gelatin silver prints arranged in sequential number following Joseph Upton's handwritten list of captions, and ultimately organized by Myron B. Smith into subject categories (royalty, people, executions, criminals, punishment, architecture). This print is in the following subject category: Landscape.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Joseph Upton purchased 66 black-and-white gelatin silver photoprints in 1928 from Antoin Sevruguin in Tehran (Iran), and subsequently donated them to the Committee for Islamic Culture, as reported in their official minutes of October 24, 1953.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "109."
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "4?6."
- On verso of the print, handwritten caption (penciled, probably by Antoin Sevruguin) in French reads, "Séfid Roud."
Glass negative numbered FSA A.4 2.12.GN.26.03; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Grand Vizier Mirza Yusuf Ashtiyani, the Mustawfi al-Mamalik (1812-1885) [graphic]
58.G.10
[Myron Bement Smith collection. Freer/Sackler Archives, No. A.4.7]
[16(A3)]
FSA A.4 2.12.Up.10
Gelatin silver prints arranged in sequential number following Joseph Upton's handwritten list of captions, and ultimately organized by Myron B. Smith into subject categories (royalty, people, executions, criminals, punishment, architecture). This print is in the following subject category: Royalty.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Joseph Upton purchased 66 black-and-white gelatin silver photoprints in 1928 from Antoin Sevruguin in Tehran (Iran), and subsequently donated them to the Committee for Islamic Culture, as reported in their official minutes of October 24, 1953.
- On verso of the print, handwritten number (penciled) reads, "244."
- On verso of the print, handwritten caption (penciled, probably by Antoin Sevruguin) in French reads, "Mostofi Mamalek Grand Vizir."
Glass negative numbered FSA A.4 2.12.GN.41.02; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Girls Weaving a Carpet [graphic]
58.G.12
[16(B6)]
FSA A.4 2.12.Up.12
Gelatin silver prints arranged in sequential number following Joseph Upton's handwritten list of captions, and ultimately organized by Myron B. Smith into subject categories (royalty, people, executions, criminals, punishment, architecture). This print is in the following subject category: People.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Joseph Upton purchased 66 black-and-white gelatin silver photoprints in 1928 from Antoin Sevruguin in Tehran (Iran), and subsequently donated them to the Committee for Islamic Culture, as reported in their official minutes of October 24, 1953.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "491."
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "128."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Peasant Scene [graphic]
58.G.14
[16(B2)]
FSA A.4 2.12.Up.14
Gelatin silver prints arranged in sequential number following Joseph Upton's handwritten list of captions, and ultimately organized by Myron B. Smith into subject categories (royalty, people, executions, criminals, punishment, architecture). This print is in the following subject category: People.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Joseph Upton purchased 66 black-and-white gelatin silver photoprints in 1928 from Antoin Sevruguin in Tehran (Iran), and subsequently donated them to the Committee for Islamic Culture, as reported in their official minutes of October 24, 1953.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "114."
- On verso of the print, handwritten caption (penciled, probably by Antoin Sevruguin) in French reads, "Maison paysane à Mazandéran."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Lion Keepers [graphic]
58.G.11
[Myron Bement Smith collection. Freer/Sackler Archives, No. A.4.10]
[16(B9)]
FSA A.4 2.12.Up.11
Gelatin silver prints arranged in sequential number following Joseph Upton's handwritten list of captions, and ultimately organized by Myron B. Smith into subject categories (royalty, people, executions, criminals, punishment, architecture). This print is in the following subject category: People.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Joseph Upton purchased 66 black-and-white gelatin silver photoprints in 1928 from Antoin Sevruguin in Tehran (Iran), and subsequently donated them to the Committee for Islamic Culture, as reported in their official minutes of October 24, 1953.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "428."
- On verso of the print, handwritten caption (penciled, probably by Antoin Sevruguin) in French reads, "Loutis et Lion."
Albumen print numbered FSA A2011.03 A.01a; available in Stephen Arpee Collection of Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Two Men Washing Clothes on a Rock [graphic]
58.G.13
[16(B5)]
FSA A.4 2.12.Up.13
Gelatin silver prints arranged in sequential number following Joseph Upton's handwritten list of captions, and ultimately organized by Myron B. Smith into subject categories (royalty, people, executions, criminals, punishment, architecture). This print is in the following subject category: People.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Joseph Upton purchased 66 black-and-white gelatin silver photoprints in 1928 from Antoin Sevruguin in Tehran (Iran), and subsequently donated them to the Committee for Islamic Culture, as reported in their official minutes of October 24, 1953.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "499."
- On verso of the print, handwritten caption (penciled, probably by Antoin Sevruguin) in French reads, "Lavage du ? à Ispahan."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Luggage Bearers [graphic]
58.G.16
[Myron Bement Smith collection. Freer/Sackler Archives, No. A.4.47]
FSA A.4 2.12.Up.16
Gelatin silver prints arranged in sequential number following Joseph Upton's handwritten list of captions, and ultimately organized by Myron B. Smith into subject categories (royalty, people, executions, criminals, punishment, architecture). This print is in the following subject category: People.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Joseph Upton purchased 66 black-and-white gelatin silver photoprints in 1928 from Antoin Sevruguin in Tehran (Iran), and subsequently donated them to the Committee for Islamic Culture, as reported in their official minutes of October 24, 1953.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "136."
- On verso of the print, handwritten number (penciled) reads, "176."
- On verso of the print, handwritten caption (penciled, probably by Antoin Sevruguin) in French reads, "Brocanteurs."
- On verso of the print, handwritten caption (penciled) in English reads, "Second-hand dealers."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Dervish Smoking Pipe [graphic]
58.G.18
[Myron Bement Smith collection. Freer/Sackler Archives, No. A.4.23]
[16(D7)]
FSA A.4 2.12.Up.18
Gelatin silver prints arranged in sequential number following Joseph Upton's handwritten list of captions, and ultimately organized by Myron B. Smith into subject categories (royalty, people, executions, criminals, punishment, architecture). This print is in the following subject category: People.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Joseph Upton purchased 66 black-and-white gelatin silver photoprints in 1928 from Antoin Sevruguin in Tehran (Iran), and subsequently donated them to the Committee for Islamic Culture, as reported in their official minutes of October 24, 1953.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "37."
- On recto of the print, faded handwritten number (inked, probably by Antoin Sevruguin) reads, "1353."
- On verso of the print, handwritten number (penciled) reads, "208."
- On verso of the print, handwritten caption (penciled, probably by Antoin Sevruguin) in French reads, "Derviche nègre."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Portrait of Hakim Nur-Mahmud [graphic]
58.G.15
[Myron Bement Smith collection. Freer/Sackler Archives, No. A.4.9]
FSA A.4 2.12.Up.15
Gelatin silver prints arranged in sequential number following Joseph Upton's handwritten list of captions, and ultimately organized by Myron B. Smith into subject categories (royalty, people, executions, criminals, punishment, architecture). This print is in the following subject category: People.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Joseph Upton purchased 66 black-and-white gelatin silver photoprints in 1928 from Antoin Sevruguin in Tehran (Iran), and subsequently donated them to the Committee for Islamic Culture, as reported in their official minutes of October 24, 1953.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "15."
- On verso of the print, handwritten caption (penciled, probably by Antoin Sevruguin) in French reads, "Hy---(?). Nurmamur."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
In the Harem [graphic]
58.G.19
[Myron Bement Smith collection. Freer/Sackler Archives, No. A.4.6]
FSA A.4 2.12.Up.19
Gelatin silver prints arranged in sequential number following Joseph Upton's handwritten list of captions, and ultimately organized by Myron B. Smith into subject categories (royalty, people, executions, criminals, punishment, architecture). This print is in the following subject category: People.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Joseph Upton purchased 66 black-and-white gelatin silver photoprints in 1928 from Antoin Sevruguin in Tehran (Iran), and subsequently donated them to the Committee for Islamic Culture, as reported in their official minutes of October 24, 1953.
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "895."
- On verso of the print, handwritten number (penciled) reads, "183."
- On verso of the print, handwritten caption (penciled, probably by Antoin Sevruguin) in French reads, "dans le Harem."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
On the Outskirt of Sultanabad (Iran) [graphic]
58.G.17
[17(B10)]
FSA A.4 2.12.Up.17
Gelatin silver prints arranged in sequential number following Joseph Upton's handwritten list of captions, and ultimately organized by Myron B. Smith into subject categories (royalty, people, executions, criminals, punishment, architecture). This print is in the following subject category: Architecture.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Joseph Upton purchased 66 black-and-white gelatin silver photoprints in 1928 from Antoin Sevruguin in Tehran (Iran), and subsequently donated them to the Committee for Islamic Culture, as reported in their official minutes of October 24, 1953.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "400."
- On verso of the print, handwritten caption (penciled, probably by Antoin Sevruguin) in French reads, "Soultanabad."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Photograph of a Painting Depicting Fath Ali Shah (reigned 1797-1834) [graphic]
58.G.25
[16(A2)]
FSA A.4 2.12.Up.25
Gelatin silver prints arranged in sequential number following Joseph Upton's handwritten list of captions, and ultimately organized by Myron B. Smith into subject categories (royalty, people, executions, criminals, punishment, architecture). This print is in the following subject category: Royalty.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Joseph Upton purchased 66 black-and-white gelatin silver photoprints in 1928 from Antoin Sevruguin in Tehran (Iran), and subsequently donated them to the Committee for Islamic Culture, as reported in their official minutes of October 24, 1953.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "742."
- On verso of the print, handwritten caption (penciled, probably by Antoin Sevruguin) reads, "Fatali Schah."
Glass negative numbered FSA A.4 2.12.GN.49.02; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Portrait of Ali Khan-i Zahir al-Dawla [graphic]
58.G.24
[Myron Bement Smith collection. Freer/Sackler Archives, No. A.4.25]
[16(A4)]
FSA A.4 2.12.Up.24
Gelatin silver prints arranged in sequential number following Joseph Upton's handwritten list of captions, and ultimately organized by Myron B. Smith into subject categories (royalty, people, executions, criminals, punishment, architecture). This print is in the following subject category: Royalty.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Joseph Upton purchased 66 black-and-white gelatin silver photoprints in 1928 from Antoin Sevruguin in Tehran (Iran), and subsequently donated them to the Committee for Islamic Culture, as reported in their official minutes of October 24, 1953.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "675."
- On verso of the print, handwritten caption (penciled, probably by Antoin Sevruguin) in French reads, "Maître des Cérémonies."
Glass negative numbered FSA A.4 2.12.GN.49.03; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Seven Armed Soldiers and Small Crowds of Spectators [graphic]
58.G.21
[Myron Bement Smith collection. Freer/Sackler Archives]
[16(A8)]
FSA A.4 2.12.Up.21
Gelatin silver prints arranged in sequential number following Joseph Upton's handwritten list of captions, and ultimately organized by Myron B. Smith into subject categories (royalty, people, executions, criminals, punishment, architecture). This print is in the following subject category: People.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Joseph Upton purchased 66 black-and-white gelatin silver photoprints in 1928 from Antoin Sevruguin in Tehran (Iran), and subsequently donated them to the Committee for Islamic Culture, as reported in their official minutes of October 24, 1953.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "243."
- On verso of the print, handwritten number (penciled) reads, "128."
- On verso of the print, handwritten caption (penciled, probably by Antoin Sevruguin) in French reads, "Poste persane."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Regiment of Soldiers [graphic]
58.G.29
[Myron Bement Smith collection. Freer/Sackler Archives]
[16(A9)]
FSA A.4 2.12.Up.29
Gelatin silver prints arranged in sequential number following Joseph Upton's handwritten list of captions, and ultimately organized by Myron B. Smith into subject categories (royalty, people, executions, criminals, punishment, architecture). This print is in the following subject category: People.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Joseph Upton purchased 66 black-and-white gelatin silver photoprints in 1928 from Antoin Sevruguin in Tehran (Iran), and subsequently donated them to the Committee for Islamic Culture, as reported in their official minutes of October 24, 1953.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "134."
- On verso of the print, handwritten number (penciled) reads, "97."
- On verso of the print, handwritten caption (penciled, probably by Antoin Sevruguin) in French reads, "régiment Lore."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Caravan [graphic]
58.G.23
[16(C5)]
FSA A.4 2.12.Up.23
Gelatin silver prints arranged in sequential number following Joseph Upton's handwritten list of captions, and ultimately organized by Myron B. Smith into subject categories (royalty, people, executions, criminals, punishment, architecture). This print is in the following subject category: People.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Joseph Upton purchased 66 black-and-white gelatin silver photoprints in 1928 from Antoin Sevruguin in Tehran (Iran), and subsequently donated them to the Committee for Islamic Culture, as reported in their official minutes of October 24, 1953.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "177."
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "1085."
- On verso of the print, handwritten number (penciled) reads, "99."
- On verso of the print, handwritten caption (penciled, probably by Antoin Sevruguin) in French reads, "Caravane."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Group of Men in Isfahan (Iran) [graphic]
58.G.27
[16(C9)]
FSA A.4 2.12.Up.27
Gelatin silver prints arranged in sequential number following Joseph Upton's handwritten list of captions, and ultimately organized by Myron B. Smith into subject categories (royalty, people, executions, criminals, punishment, architecture). This print is in the following subject category: People.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Joseph Upton purchased 66 black-and-white gelatin silver photoprints in 1928 from Antoin Sevruguin in Tehran (Iran), and subsequently donated them to the Committee for Islamic Culture, as reported in their official minutes of October 24, 1953.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "43."
- On verso of the print, handwritten caption (penciled) reads, "Isfahān."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Portrait of Young Jewish Woman in Elaborate Costume [graphic]
58.G.20
[Myron Bement Smith collection. Freer/Sackler Archives, No. A.4.32]
[17(A4)]
FSA A.4 2.12.Up.20
Gelatin silver prints arranged in sequential number following Joseph Upton's handwritten list of captions, and ultimately organized by Myron B. Smith into subject categories (royalty, people, executions, criminals, punishment, architecture). This print is in the following subject category: People.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Joseph Upton purchased 66 black-and-white gelatin silver photoprints in 1928 from Antoin Sevruguin in Tehran (Iran), and subsequently donated them to the Committee for Islamic Culture, as reported in their official minutes of October 24, 1953.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "32."
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "518."
- On verso of the print, handwritten number (penciled) reads, "117."
- On verso of the print, handwritten caption (penciled, probably by Antoin Sevruguin) in French reads, "Juive."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Portrait of Two Women in Elaborate Costume [graphic]
58.G.28
[Myron Bement Smith collection. Freer/Sackler Archives, No. A.4.1]
[16(E9)]
FSA A.4 2.12.Up.28
Gelatin silver prints arranged in sequential number following Joseph Upton's handwritten list of captions, and ultimately organized by Myron B. Smith into subject categories (royalty, people, executions, criminals, punishment, architecture). This print is in the following subject category: People.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Joseph Upton purchased 66 black-and-white gelatin silver photoprints in 1928 from Antoin Sevruguin in Tehran (Iran), and subsequently donated them to the Committee for Islamic Culture, as reported in their official minutes of October 24, 1953.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "373."
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "1236."
- On verso of the print, handwritten number (penciled) reads, "202."
- On verso of the print, handwritten caption (penciled, probably by Antoin Sevruguin) in French reads, "Juives."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Portrait of Kurdish Woman [graphic]
58.G.22
[Myron Bement Smith collection. Freer/Sackler Archives]
[17(A2)]
FSA A.4 2.12.Up.22
Gelatin silver prints arranged in sequential number following Joseph Upton's handwritten list of captions, and ultimately organized by Myron B. Smith into subject categories (royalty, people, executions, criminals, punishment, architecture). This print is in the following subject category: People.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Joseph Upton purchased 66 black-and-white gelatin silver photoprints in 1928 from Antoin Sevruguin in Tehran (Iran), and subsequently donated them to the Committee for Islamic Culture, as reported in their official minutes of October 24, 1953.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "157."
- On verso of the print, handwritten number (penciled) reads, "116."
- On verso of the print, handwritten caption (penciled, probably by Antoin Sevruguin) in French reads, "Kurdesse."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Khiaban-i Ala al-Dawla (Firdawsi Avenue), Tehran (Iran) [graphic]
58.G.26
[17(B2)]
FSA A.4 2.12.Up.26
Gelatin silver prints arranged in sequential number following Joseph Upton's handwritten list of captions, and ultimately organized by Myron B. Smith into subject categories (royalty, people, executions, criminals, punishment, architecture). This print is in the following subject category: Architecture.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Joseph Upton purchased 66 black-and-white gelatin silver photoprints in 1928 from Antoin Sevruguin in Tehran (Iran), and subsequently donated them to the Committee for Islamic Culture, as reported in their official minutes of October 24, 1953.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "100."
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "1120."
- On verso of the print, handwritten number (penciled) reads, "196."
- On verso of the print, handwritten caption (penciled, probably by Antoin Sevruguin) in French reads, "Avenue Alla es Douleh à Tehéran."
- On verso of the print, handwritten caption (penciled) in English reads, "47.P.33.3."
Glass negative numbered FSA A.4 2.12.GN.34.05; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Workers Harvesting Rice [graphic]
58.G.35
[16(B1)]
FSA A.4 2.12.Up.35
Gelatin silver prints arranged in sequential number following Joseph Upton's handwritten list of captions, and ultimately organized by Myron B. Smith into subject categories (royalty, people, executions, criminals, punishment, architecture). This print is in the following subject category: People.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Joseph Upton purchased 66 black-and-white gelatin silver photoprints in 1928 from Antoin Sevruguin in Tehran (Iran), and subsequently donated them to the Committee for Islamic Culture, as reported in their official minutes of October 24, 1953.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "369."
- On recto of the print, scratched handwritten number (penciled, probably by Antoin Sevruguin) reads, "???."
- On verso of the print, handwritten number (penciled) reads, "85."
- On verso of the print, handwritten caption (penciled, probably by Antoin Sevruguin) in French reads, "La culture du riz."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Shepherd [graphic]
58.G.31
[16(B3)]
FSA A.4 2.12.Up.31
Gelatin silver prints arranged in sequential number following Joseph Upton's handwritten list of captions, and ultimately organized by Myron B. Smith into subject categories (royalty, people, executions, criminals, punishment, architecture). This print is in the following subject category: People.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Joseph Upton purchased 66 black-and-white gelatin silver photoprints in 1928 from Antoin Sevruguin in Tehran (Iran), and subsequently donated them to the Committee for Islamic Culture, as reported in their official minutes of October 24, 1953.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "506."
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "772."
- On verso of the print, handwritten caption (penciled, probably by Antoin Sevruguin) in French reads, "Le berger persan."
Glass negative numbered FSA A.4 2.12.GN.32.04; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Men and Horses in a Caravansarai [graphic]
58.G.39
[16(C7)]
FSA A.4 2.12.Up.39
Gelatin silver prints arranged in sequential number following Joseph Upton's handwritten list of captions, and ultimately organized by Myron B. Smith into subject categories (royalty, people, executions, criminals, punishment, architecture). This print is in the following subject category: People.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Joseph Upton purchased 66 black-and-white gelatin silver photoprints in 1928 from Antoin Sevruguin in Tehran (Iran), and subsequently donated them to the Committee for Islamic Culture, as reported in their official minutes of October 24, 1953.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "808."
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1689."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Men Outside a Hut [graphic]
58.G.34
[16(C10)]
FSA A.4 2.12.Up.34
Gelatin silver prints arranged in sequential number following Joseph Upton's handwritten list of captions, and ultimately organized by Myron B. Smith into subject categories (royalty, people, executions, criminals, punishment, architecture). This print is in the following subject category: People.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Joseph Upton purchased 66 black-and-white gelatin silver photoprints in 1928 from Antoin Sevruguin in Tehran (Iran), and subsequently donated them to the Committee for Islamic Culture, as reported in their official minutes of October 24, 1953.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "461."
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "???."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Ta'ziya Performance at the Takkiya Dawlat, Tehran (Iran) [graphic]
58.G.38
[Myron Bement Smith collection. Freer/Sackler Archives, No. A.4.39]
FSA A.4 2.12.Up.38
Gelatin silver prints arranged in sequential number following Joseph Upton's handwritten list of captions, and ultimately organized by Myron B. Smith into subject categories (royalty, people, executions, criminals, punishment, architecture). This print is in the following subject category: People.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Joseph Upton purchased 66 black-and-white gelatin silver photoprints in 1928 from Antoin Sevruguin in Tehran (Iran), and subsequently donated them to the Committee for Islamic Culture, as reported in their official minutes of October 24, 1953.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "52."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Armenian Girls in Urmia (Iran) [graphic]
58.G.37
[Myron Bement Smith collection. Freer/Sackler Archives]
[16(E6)]
FSA A.4 2.12.Up.37
Gelatin silver prints arranged in sequential number following Joseph Upton's handwritten list of captions, and ultimately organized by Myron B. Smith into subject categories (royalty, people, executions, criminals, punishment, architecture). This print is in the following subject category: People.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Joseph Upton purchased 66 black-and-white gelatin silver photoprints in 1928 from Antoin Sevruguin in Tehran (Iran), and subsequently donated them to the Committee for Islamic Culture, as reported in their official minutes of October 24, 1953.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "340."
- On verso of the print, handwritten number (penciled) reads, "219."
- On verso of the print, handwritten caption (penciled, probably by Antoin Sevruguin) in French reads, "Filles arméniennes à Ourmiah."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Portrait of an Armenian Woman [graphic]
58.G.33
[Myron Bement Smith collection. Freer/Sackler Archives, No. A.4.35]
[16(E7)]
FSA A.4 2.12.Up.33
Gelatin silver prints arranged in sequential number following Joseph Upton's handwritten list of captions, and ultimately organized by Myron B. Smith into subject categories (royalty, people, executions, criminals, punishment, architecture). This print is in the following subject category: People.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Joseph Upton purchased 66 black-and-white gelatin silver photoprints in 1928 from Antoin Sevruguin in Tehran (Iran), and subsequently donated them to the Committee for Islamic Culture, as reported in their official minutes of October 24, 1953.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "334."
- On verso of the print, handwritten number (penciled) reads, "211."
- On verso of the print, handwritten caption (penciled, probably by Antoin Sevruguin) in French reads, "Dame arménienne."
Glass negative numbered FSA A.4 2.12.GN.46.15; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs
Albumen print numbered FSA A2011.03 A.32a; available in Stephen Arpee Collection of Sevruguin Photographs.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Portrait of a Kurdish Woman in Front of a Wall with Graffiti [graphic]
58.G.32
[Myron Bement Smith collection. Freer/Sackler Archives]
[17(A1)]
[FSA.3]
FSA A.4 2.12.Up.32
Gelatin silver prints arranged in sequential number following Joseph Upton's handwritten list of captions, and ultimately organized by Myron B. Smith into subject categories (royalty, people, executions, criminals, punishment, architecture). This print is in the following subject category: People.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Joseph Upton purchased 66 black-and-white gelatin silver photoprints in 1928 from Antoin Sevruguin in Tehran (Iran), and subsequently donated them to the Committee for Islamic Culture, as reported in their official minutes of October 24, 1953.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "214."
- On verso of the print, handwritten caption (penciled, probably by Antoin Sevruguin) in French reads, "Kurdesse."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Portrait of a Persian Woman [graphic]
58.G.30
[Myron Bement Smith collection. Freer/Sackler Archives, No. A.4.17]
[17(A8)]
FSA A.4 2.12.Up.30
Gelatin silver prints arranged in sequential number following Joseph Upton's handwritten list of captions, and ultimately organized by Myron B. Smith into subject categories (royalty, people, executions, criminals, punishment, architecture). This print is in the following subject category: People.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Joseph Upton purchased 66 black-and-white gelatin silver photoprints in 1928 from Antoin Sevruguin in Tehran (Iran), and subsequently donated them to the Committee for Islamic Culture, as reported in their official minutes of October 24, 1953.
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "342."
- On verso of the print, handwritten number (penciled) reads, "155."
- On verso of the print, handwritten caption (penciled, probably by Antoin Sevruguin) in French reads, "Dame persane."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Portrait of a Zoroastrian (?) Woman [graphic]
58.G.36
[Myron Bement Smith collection. Freer/Sackler Archives, No. A.4.30]
[17(A9)]
FSA A.4 2.12.Up.36
Gelatin silver prints arranged in sequential number following Joseph Upton's handwritten list of captions, and ultimately organized by Myron B. Smith into subject categories (royalty, people, executions, criminals, punishment, architecture). This print is in the following subject category: People.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Joseph Upton purchased 66 black-and-white gelatin silver photoprints in 1928 from Antoin Sevruguin in Tehran (Iran), and subsequently donated them to the Committee for Islamic Culture, as reported in their official minutes of October 24, 1953.
- On verso of the print, handwritten caption (penciled, probably by Antoin Sevruguin) in French reads, "Dame guèbre."
- On verso of the print, handwritten caption (penciled) in English reads, "Jewess."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Mendicant Women [graphic]
58.G.43
[Myron Bement Smith collection. Freer/Sackler Archives, No. A.4.66]
FSA A.4 2.12.Up.43
Gelatin silver prints arranged in sequential number following Joseph Upton's handwritten list of captions, and ultimately organized by Myron B. Smith into subject categories (royalty, people, executions, criminals, punishment, architecture). This print is in the following subject category: People.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Joseph Upton purchased 66 black-and-white gelatin silver photoprints in 1928 from Antoin Sevruguin in Tehran (Iran), and subsequently donated them to the Committee for Islamic Culture, as reported in their official minutes of October 24, 1953.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "36."
- On verso of the print, handwritten number (penciled) reads, "174."
- On verso of the print, handwritten caption (penciled, probably by Antoin Sevruguin) in French reads, "Les Bohémiennes."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Money dealers [graphic]
58.G.47
[16(C2)]
FSA A.4 2.12.Up.47
Gelatin silver prints arranged in sequential number following Joseph Upton's handwritten list of captions, and ultimately organized by Myron B. Smith into subject categories (royalty, people, executions, criminals, punishment, architecture). This print is in the following subject category: People.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Joseph Upton purchased 66 black-and-white gelatin silver photoprints in 1928 from Antoin Sevruguin in Tehran (Iran), and subsequently donated them to the Committee for Islamic Culture, as reported in their official minutes of October 24, 1953.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "110."
- On verso of the print, handwritten number (penciled) reads, "206."
- On verso of the print, handwritten caption (penciled, probably by Antoin Sevruguin) in French reads, "Banquier."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
People and Animals outside a Caravansarai [graphic]
58.G.40
[Myron Bement Smith collection. Freer/Sackler Archives]
[16(C6)]
FSA A.4 2.12.Up.40
Gelatin silver prints arranged in sequential number following Joseph Upton's handwritten list of captions, and ultimately organized by Myron B. Smith into subject categories (royalty, people, executions, criminals, punishment, architecture). This print is in the following subject category: People.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Joseph Upton purchased 66 black-and-white gelatin silver photoprints in 1928 from Antoin Sevruguin in Tehran (Iran), and subsequently donated them to the Committee for Islamic Culture, as reported in their official minutes of October 24, 1953.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "30."
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1693."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
People and a Village along Water [graphic]
58.G.49
[16(D1)]
FSA A.4 2.12.Up.49
Gelatin silver prints arranged in sequential number following Joseph Upton's handwritten list of captions, and ultimately organized by Myron B. Smith into subject categories (royalty, people, executions, criminals, punishment, architecture). This print is in the following subject category: People.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Joseph Upton purchased 66 black-and-white gelatin silver photoprints in 1928 from Antoin Sevruguin in Tehran (Iran), and subsequently donated them to the Committee for Islamic Culture, as reported in their official minutes of October 24, 1953.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "532."
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "508."
- On verso of the print, handwritten caption (penciled, probably by Antoin Sevruguin) possibly in French reads, "Mya---(?)."
- On verso of the print, handwritten caption (penciled) in English reads, "Mohamerah."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Kurdish Girl Carrying a Water Vessel [graphic]
58.G.45
[Myron Bement Smith collection. Freer/Sackler Archives]
[17(A3)]
FSA A.4 2.12.Up.45
Gelatin silver prints arranged in sequential number following Joseph Upton's handwritten list of captions, and ultimately organized by Myron B. Smith into subject categories (royalty, people, executions, criminals, punishment, architecture). This print is in the following subject category: People.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Joseph Upton purchased 66 black-and-white gelatin silver photoprints in 1928 from Antoin Sevruguin in Tehran (Iran), and subsequently donated them to the Committee for Islamic Culture, as reported in their official minutes of October 24, 1953.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "203."
- On verso of the print, handwritten caption (penciled, probably by Antoin Sevruguin) in French reads, "Kurdesse."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
View of Town and Rooftops [graphic]
58.G.48
[17(B8)]
FSA A.4 2.12.Up.48
Gelatin silver prints arranged in sequential number following Joseph Upton's handwritten list of captions, and ultimately organized by Myron B. Smith into subject categories (royalty, people, executions, criminals, punishment, architecture). This print is in the following subject category: Architecture.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Joseph Upton purchased 66 black-and-white gelatin silver photoprints in 1928 from Antoin Sevruguin in Tehran (Iran), and subsequently donated them to the Committee for Islamic Culture, as reported in their official minutes of October 24, 1953.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "72."
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1865."
- On verso of the print, handwritten caption (penciled, probably by Antoin Sevruguin) in French reads, "Ourmiah."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
View of Shushtar (Iran), including a Bridge [graphic]
58.G.44
[17(B9)]
FSA A.4 2.12.Up.44
Gelatin silver prints arranged in sequential number following Joseph Upton's handwritten list of captions, and ultimately organized by Myron B. Smith into subject categories (royalty, people, executions, criminals, punishment, architecture). This print is in the following subject category: Architecture.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Joseph Upton purchased 66 black-and-white gelatin silver photoprints in 1928 from Antoin Sevruguin in Tehran (Iran), and subsequently donated them to the Committee for Islamic Culture, as reported in their official minutes of October 24, 1953.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "493."
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "1580."
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "---(?)."
- On verso of the print, handwritten caption (penciled) in English reads, "Shuster."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Two Men Seated on a Ridge [graphic]
58.G.42
[17(C5)]
FSA A.4 2.12.Up.42
Gelatin silver prints arranged in sequential number following Joseph Upton's handwritten list of captions, and ultimately organized by Myron B. Smith into subject categories (royalty, people, executions, criminals, punishment, architecture). This print is in the following subject category: Landscape.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Joseph Upton purchased 66 black-and-white gelatin silver photoprints in 1928 from Antoin Sevruguin in Tehran (Iran), and subsequently donated them to the Committee for Islamic Culture, as reported in their official minutes of October 24, 1953.
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "---(?)."
- On verso of the print, handwritten caption (penciled, probably by Antoin Sevruguin) in French reads, "Nocturne."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Western Traveler and Other Men at a Hut [graphic]
58.G.41
[17(C6)]
FSA A.4 2.12.Up.41
Gelatin silver prints arranged in sequential number following Joseph Upton's handwritten list of captions, and ultimately organized by Myron B. Smith into subject categories (royalty, people, executions, criminals, punishment, architecture). This print is in the following subject category: Landscape.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Joseph Upton purchased 66 black-and-white gelatin silver photoprints in 1928 from Antoin Sevruguin in Tehran (Iran), and subsequently donated them to the Committee for Islamic Culture, as reported in their official minutes of October 24, 1953.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "159."
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "---(?)."
- On verso of the print, handwritten number (penciled) reads, "83."
- On verso of the print, handwritten caption (penciled, probably by Antoin Sevruguin) in French reads, "En route de Recht."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Men at a Rustic Hut [graphic]
58.G.46
[17(C7)]
FSA A.4 2.12.Up.46
Gelatin silver prints arranged in sequential number following Joseph Upton's handwritten list of captions, and ultimately organized by Myron B. Smith into subject categories (royalty, people, executions, criminals, punishment, architecture). This print is in the following subject category: Landscape.
Joseph Upton purchased 66 black-and-white gelatin silver photoprints in 1928 from Antoin Sevruguin in Tehran (Iran), and subsequently donated them to the Committee for Islamic Culture, as reported in their official minutes of October 24, 1953.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "1190."
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "654."
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "140."
- On verso of the print, handwritten caption (penciled, probably by Antoin Sevruguin) in French reads, "En route de Recht."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Reception at the Shah's Palace [graphic]
58.G.57
[Myron Bement Smith collection. Freer/Sackler Archives, No. A.4.3]
[16(A6)]
FSA A.4 2.12.Up.57
Gelatin silver prints arranged in sequential number following Joseph Upton's handwritten list of captions, and ultimately organized by Myron B. Smith into subject categories (royalty, people, executions, criminals, punishment, architecture). This print is in the following subject category: Royalty.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Joseph Upton purchased 66 black-and-white gelatin silver photoprints in 1928 from Antoin Sevruguin in Tehran (Iran), and subsequently donated them to the Committee for Islamic Culture, as reported in their official minutes of October 24, 1953.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "605."
- On verso of the print, handwritten caption (penciled, probably by Antoin Sevruguin) in French reads, "Invitation chez le Schah."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Three Water Carriers [graphic]
58.G.56
[16(B7)]
FSA A.4 2.12.Up.56
Gelatin silver prints arranged in sequential number following Joseph Upton's handwritten list of captions, and ultimately organized by Myron B. Smith into subject categories (royalty, people, executions, criminals, punishment, architecture). This print is in the following subject category: People.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Joseph Upton purchased 66 black-and-white gelatin silver photoprints in 1928 from Antoin Sevruguin in Tehran (Iran), and subsequently donated them to the Committee for Islamic Culture, as reported in their official minutes of October 24, 1953.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "1398."
- On verso of the print, handwritten caption (penciled, probably by Antoin Sevruguin) in French reads, "Porteurs d'eau au village."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Portrait of a Merchant [graphic]
58.G.59
[Myron Bement Smith collection. Freer/Sackler Archives]
[16(B10)]
FSA A.4 2.12.Up.59
Gelatin silver prints arranged in sequential number following Joseph Upton's handwritten list of captions, and ultimately organized by Myron B. Smith into subject categories (royalty, people, executions, criminals, punishment, architecture). This print is in the following subject category: People.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Joseph Upton purchased 66 black-and-white gelatin silver photoprints in 1928 from Antoin Sevruguin in Tehran (Iran), and subsequently donated them to the Committee for Islamic Culture, as reported in their official minutes of October 24, 1953.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "492."
- On recto of the print, scratched handwritten number (penciled, probably by Antoin Sevruguin) reads, "50."
- On verso of the print, handwritten caption (penciled, probably by Antoin Sevruguin) in French reads, "marchand parse."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Dervish or Cleric [graphic]
58.G.53
[Myron Bement Smith collection. Freer/Sackler Archives, No. A.4.1]
[16(D8)]
FSA A.4 2.12.Up.53
Gelatin silver prints arranged in sequential number following Joseph Upton's handwritten list of captions, and ultimately organized by Myron B. Smith into subject categories (royalty, people, executions, criminals, punishment, architecture). This print is in the following subject category: People.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Joseph Upton purchased 66 black-and-white gelatin silver photoprints in 1928 from Antoin Sevruguin in Tehran (Iran), and subsequently donated them to the Committee for Islamic Culture, as reported in their official minutes of October 24, 1953.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "151."
- On verso of the print, handwritten number (penciled) reads, "238."
- On verso of the print, handwritten caption (penciled, probably by Antoin Sevruguin) in French reads, "Mollah."
- On verso of the print, additional handwritten caption (penciled) reads, "47 P. Sevruguin 56.2. [Mollah Neg. No. 56.2]."
Glass negative numbered FSA A.4 2.12.GN.56.02; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Hakim Nur-Mahmud (Seated Center with Book) and Family, Patients, Servants [graphic]
58.G.58
[Myron Bement Smith collection. Freer/Sackler Archives, No. A.4.11]
[16(E3)]
FSA A.4 2.12.Up.58
Gelatin silver prints arranged in sequential number following Joseph Upton's handwritten list of captions, and ultimately organized by Myron B. Smith into subject categories (royalty, people, executions, criminals, punishment, architecture). This print is in the following subject category: People.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Joseph Upton purchased 66 black-and-white gelatin silver photoprints in 1928 from Antoin Sevruguin in Tehran (Iran), and subsequently donated them to the Committee for Islamic Culture, as reported in their official minutes of October 24, 1953.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "50."
- On verso of the print, handwritten caption (penciled, probably by Antoin Sevruguin) in French reads, "Famille Juive."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Portrait of a Jewish Girl in Elaborate Costume [graphic]
58.G.55
[Myron Bement Smith collection. Freer/Sackler Archives, No. A.4.67]
FSA A.4 2.12.Up.55
Gelatin silver prints arranged in sequential number following Joseph Upton's handwritten list of captions, and ultimately organized by Myron B. Smith into subject categories (royalty, people, executions, criminals, punishment, architecture). This print is in the following subject category: People.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Joseph Upton purchased 66 black-and-white gelatin silver photoprints in 1928 from Antoin Sevruguin in Tehran (Iran), and subsequently donated them to the Committee for Islamic Culture, as reported in their official minutes of October 24, 1953.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "415."
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "1322."
- On verso of the print, handwritten number (penciled) reads, "235."
- On verso of the print, handwritten caption (penciled, probably by Antoin Sevruguin) in French reads, "Juive."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Portrait of a Kurdish [or Armenian?] Woman in Elaborate Costume [graphic]
58.G.54
[Myron Bement Smith collection. Freer/Sackler Archives, No. A.4.8]
[17(A5)]
[FSA.2]
FSA A.4 2.12.Up.54
Gelatin silver prints arranged in sequential number following Joseph Upton's handwritten list of captions, and ultimately organized by Myron B. Smith into subject categories (royalty, people, executions, criminals, punishment, architecture). This print is in the following subject category: People.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Joseph Upton purchased 66 black-and-white gelatin silver photoprints in 1928 from Antoin Sevruguin in Tehran (Iran), and subsequently donated them to the Committee for Islamic Culture, as reported in their official minutes of October 24, 1953.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "442."
- On verso of the print, handwritten number (penciled) reads, "164."
- On verso of the print, handwritten caption (penciled, probably by Antoin Sevruguin) in French reads, "Kurdesse."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
House of Parliament in Tehran (Iran) [graphic]
58.G.51
[17(B5)]
FSA A.4 2.12.Up.51
Gelatin silver prints arranged in sequential number following Joseph Upton's handwritten list of captions, and ultimately organized by Myron B. Smith into subject categories (royalty, people, executions, criminals, punishment, architecture). This print is in the following subject category: Architecture.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Joseph Upton purchased 66 black-and-white gelatin silver photoprints in 1928 from Antoin Sevruguin in Tehran (Iran), and subsequently donated them to the Committee for Islamic Culture, as reported in their official minutes of October 24, 1953.
- On verso of the print, handwritten caption (penciled, probably by Antoin Sevruguin) in French reads, "Le Parlement."
- On verso of the print, handwritten caption (penciled) in English reads, "Teheran."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
The Barracks at the Square of Canons in Tehran (Iran) [graphic]
58.G.50
[17(B6)]
FSA A.4 2.12.Up.50
Gelatin silver prints arranged in sequential number following Joseph Upton's handwritten list of captions, and ultimately organized by Myron B. Smith into subject categories (royalty, people, executions, criminals, punishment, architecture). This print is in the following subject category: Architecture.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Joseph Upton purchased 66 black-and-white gelatin silver photoprints in 1928 from Antoin Sevruguin in Tehran (Iran), and subsequently donated them to the Committee for Islamic Culture, as reported in their official minutes of October 24, 1953.
- On verso of the print, handwritten caption (penciled, probably by Antoin Sevruguin) in French reads, "La place des canons (la caserne en 1919)."
- On verso of the print, handwritten caption (penciled) in English reads, "Teheran. barracks."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Small Bridge over Pir-i-Bazaar Stream in Rasht (Iran) [graphic]
58.G.52
[17(C2)]
FSA A.4 2.12.Up.52
Gelatin silver prints arranged in sequential number following Joseph Upton's handwritten list of captions, and ultimately organized by Myron B. Smith into subject categories (royalty, people, executions, criminals, punishment, architecture). This print is in the following subject category: Architecture.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Joseph Upton purchased 66 black-and-white gelatin silver photoprints in 1928 from Antoin Sevruguin in Tehran (Iran), and subsequently donated them to the Committee for Islamic Culture, as reported in their official minutes of October 24, 1953.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "431."
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "275."
- On verso of the print, handwritten caption (penciled, probably by Antoin Sevruguin) in French reads, "Recht - le pire bazar."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Mirza Abdul Vahab Khan Nizam al-mulk [graphic]
58.G.66
[Myron Bement Smith collection. Freer/Sackler Archives, No. A.4.5]
FSA A.4 2.12.Up.66
Gelatin silver prints arranged in sequential number following Joseph Upton's handwritten list of captions, and ultimately organized by Myron B. Smith into subject categories (royalty, people, executions, criminals, punishment, architecture). This print is in the following subject category: Royalty.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Joseph Upton purchased 66 black-and-white gelatin silver photoprints in 1928 from Antoin Sevruguin in Tehran (Iran), and subsequently donated them to the Committee for Islamic Culture, as reported in their official minutes of October 24, 1953.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "83."
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "690."
- On verso of the print, handwritten number (penciled) reads, "212."
- On verso of the print, handwritten number (penciled) reads, "184."
- On verso of the print, handwritten caption (penciled, probably by Antoin Sevruguin) in French reads, "Vieux ministre."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Boy Receiving Punishment with Small Crowd of Male Spectators [graphic]
58.G.61
[16(D3)]
FSA A.4 2.12.Up.61
Gelatin silver prints arranged in sequential number following Joseph Upton's handwritten list of captions, and ultimately organized by Myron B. Smith into subject categories (royalty, people, executions, criminals, punishment, architecture). This print is in the following subject category: People.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Joseph Upton purchased 66 black-and-white gelatin silver photoprints in 1928 from Antoin Sevruguin in Tehran (Iran), and subsequently donated them to the Committee for Islamic Culture, as reported in their official minutes of October 24, 1953.
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1175."
- On verso of the print, handwritten number (penciled) reads, "240."
- On verso of the print, handwritten caption (penciled, probably by Antoin Sevruguin) in French reads, "La punition à l'atelier de broderie."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Dervish Carrying a Kashkul, or Beggar's Bowl [graphic]
58.G.65
[Myron Bement Smith collection. Freer/Sackler Archives, No. A.4.19]
[16(D5)]
FSA A.4 2.12.Up.65
Gelatin silver prints arranged in sequential number following Joseph Upton's handwritten list of captions, and ultimately organized by Myron B. Smith into subject categories (royalty, people, executions, criminals, punishment, architecture). This print is in the following subject category: People.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Joseph Upton purchased 66 black-and-white gelatin silver photoprints in 1928 from Antoin Sevruguin in Tehran (Iran), and subsequently donated them to the Committee for Islamic Culture, as reported in their official minutes of October 24, 1953.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "1453."
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1453."
- On verso of the print, handwritten caption (penciled, probably by Antoin Sevruguin) in French reads, "Derviche."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Dervish Carrying a Kashkul, or Beggar's Bowl [graphic]
58.G.63
[Myron Bement Smith collection. Freer/Sackler Archives, No. A.4.21]
[16(D6)]
FSA A.4 2.12.Up.63
Gelatin silver prints arranged in sequential number following Joseph Upton's handwritten list of captions, and ultimately organized by Myron B. Smith into subject categories (royalty, people, executions, criminals, punishment, architecture). This print is in the following subject category: People.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Joseph Upton purchased 66 black-and-white gelatin silver photoprints in 1928 from Antoin Sevruguin in Tehran (Iran), and subsequently donated them to the Committee for Islamic Culture, as reported in their official minutes of October 24, 1953.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "508."
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "---(?)."
- On verso of the print, handwritten number (penciled) reads, "215."
- On verso of the print, handwritten caption (penciled, probably by Antoin Sevruguin) in French reads, "Derviche."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Persian School [graphic]
58.G.60
[Myron Bement Smith collection. Freer/Sackler Archives, No. A.4.12]
[16(E4)]
FSA A.4 2.12.Up.60
Gelatin silver prints arranged in sequential number following Joseph Upton's handwritten list of captions, and ultimately organized by Myron B. Smith into subject categories (royalty, people, executions, criminals, punishment, architecture). This print is in the following subject category: People.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Joseph Upton purchased 66 black-and-white gelatin silver photoprints in 1928 from Antoin Sevruguin in Tehran (Iran), and subsequently donated them to the Committee for Islamic Culture, as reported in their official minutes of October 24, 1953.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "691."
- On verso of the print, handwritten caption (penciled, probably by Antoin Sevruguin) in French reads, "Ecole Parse."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Portrait of a Persian Woman Dressed in a Ballerina Costume [graphic]
58.G.64
[Myron Bement Smith collection. Freer/Sackler Archives, No. A.4.2]
[17(A7)]
FSA A.4 2.12.Up.64
Gelatin silver prints arranged in sequential number following Joseph Upton's handwritten list of captions, and ultimately organized by Myron B. Smith into subject categories (royalty, people, executions, criminals, punishment, architecture). This print is in the following subject category: People.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Joseph Upton purchased 66 black-and-white gelatin silver photoprints in 1928 from Antoin Sevruguin in Tehran (Iran), and subsequently donated them to the Committee for Islamic Culture, as reported in their official minutes of October 24, 1953.
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "854."
- On recto of the print, scratched handwritten number (inked) reads, "1500."
- On verso of the print, handwritten caption (penciled, probably by Antoin Sevruguin) in French reads, "Balerine persane."
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Residence of a Diplomat (?) [graphic]
58.G.62
[17(B7)]
FSA A.4 2.12.Up.62
Gelatin silver prints arranged in sequential number following Joseph Upton's handwritten list of captions, and ultimately organized by Myron B. Smith into subject categories (royalty, people, executions, criminals, punishment, architecture). This print is in the following subject category: Architecture.
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Joseph Upton purchased 66 black-and-white gelatin silver photoprints in 1928 from Antoin Sevruguin in Tehran (Iran), and subsequently donated them to the Committee for Islamic Culture, as reported in their official minutes of October 24, 1953.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "11."
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1293."
Glass negative numbered FSA A.4 2.12.GN.26.10; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Subseries 3.1, 3.2, and 3.3 inventory items described in Series 1 and 2 but stored separately.
Subseries 3.4 lists Smithsonian Copy Negatives that were made after the collection was donated. This subseries is not part of the main MBS collection.