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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]

Creator:
Sevruguin, Antoin d. 1933
Subject:
Sevruguin, Antoin d. 1933
Smith, Myron Bement 1897-1970
Islamic Archives
Physical description:
1 photographic print : b&w ; 24 cm. x 18 cm
Type:
Gelatin silver prints
Photographic prints
Place:
Asia
Iran
Naqsh-i Rustam (Iran)
Date:
1898-1902
Topic:
Ancient Near Eastern Art
Animals in art
Headgear
Inscriptions
Photographers
Relief (Sculpture)
Royalty (Nobility)
Sassanids
Textile design
Local number:
FSA A.4 2.12.Sm.13
Notes:
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a 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
Summary:
- 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."
Cite as:
Myron Bement Smith Collection: Antoin Sevruguin Photographs. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington D.C. Gift of Katherine Dennis Smith, 1973-1985
See more items in:
Myron Bement Smith collection 1899-1962
Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
Visitor Tag(s):

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]

Creator:
Sevruguin, Antoin d. 1933
Subject:
Sevruguin, Antoin d. 1933
Smith, Myron Bement 1897-1970
Islamic Archives
Physical description:
1 glass negative : b&w ; 23.8 cm. x 17.8 cm
Type:
Glass negatives
Place:
Asia
Iran
Naqsh-i Rustam (Iran)
Date:
1902-1905
Topic:
Ancient Near Eastern Art
Animals in art
Headgear
Inscriptions
Photographers
Relief (Sculpture)
Royalty (Nobility)
Sassanids
Textile design
Local number:
FSA A.4 2.12.GN.38.06
Notes:
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery
Summary:
- 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]
Cite as:
Myron Bement Smith Collection: Antoin Sevruguin Photographs. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington D.C. Gift of Katherine Dennis Smith, 1973-1985
See more items in:
Myron Bement Smith collection 1899-1962
Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
Visitor Tag(s):

Arpee Album: Photograph of Kamraniyya Palace Complex [graphic]

Creator:
Sevruguin, Antoin d. 1933
Subject:
Sevruguin, Antoin d. 1933
Physical description:
1 albumen print : b&w ; 22.9 cm. x 16.2 cm
Type:
Albumen prints
Photograph albums
Photographic prints
Place:
Asia
Iran
Date:
1880s - 1930
Topic:
Architecture
Palaces
Qajar dynasty
Royalty (Nobility)
Local number:
FSA A2011.03 A.22a
Notes:
Title and Summary notes are provided by Shabnam Rahimi-Golkhandan, FSg research specialist
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a 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
Summary:
"The photograph depicts the palace complex of Kamraniyya, built around 1880s by Kamran Mirza, Nasir al-Din Shah's third and favorite son. The garden of the complex was known for its exotic and extensive kinds of trees and greenery." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "Albumen print, faded on the outer boundaries."
- On the mount, below the photographic print, handwritten caption (inked) in English reads, "Residence of Amin ed-daouleh, Teheran."
Cite as:
Stephen Arpee Collection of Sevruguin Photographs. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington D.C., 2011
See more items in:
Stephen Arpee Collection of Sevruguin Photographs
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
Visitor Tag(s):

Photograph of Kamraniyya Palace Complex [graphic]

Creator:
Sevruguin, Antoin d. 1933
Subject:
Sevruguin, Antoin d. 1933
Physical description:
1 albumen print : b&w ; 22.8 cm. x 17 cm
Type:
Albumen prints
Photographic prints
Place:
Asia
Iran
Date:
1880s - 1930
Topic:
Architecture
Palaces
Qajar dynasty
Royalty (Nobility)
Local number:
FSA A2011.03 B.02
Notes:
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a 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
Summary:
"The photograph depicts the palace complex of Kamraniyya, built around 1880s by Kamran Mirza, Nasir al-Din Shah's third and favorite son. The garden of the complex was known for its exotic and extensive kinds of trees and greenery." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
Cite as:
Stephen Arpee Collection of Sevruguin Photographs. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington D.C., 2011
See more items in:
Stephen Arpee Collection of Sevruguin Photographs
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
Visitor Tag(s):

Photograph of Kakh-i Saltanat-abad (Saltanat-Abad Palace), from Inside the Garden [graphic]

Creator:
Sevruguin, Antoin d. 1933
Subject:
Sevruguin, Antoin d. 1933
Physical description:
1 albumen print : b&w ; 22.7 cm. x 16.7 cm
Type:
Albumen prints
Photographic prints
Place:
Asia
Iran
Date:
1880s - 1930
Topic:
Architecture
Palaces
Qajar dynasty
Royalty (Nobility)
Local number:
FSA A2011.03 B.06
Notes:
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a 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
Summary:
"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. 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]
Cite as:
Stephen Arpee Collection of Sevruguin Photographs. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington D.C., 2011
See more items in:
Stephen Arpee Collection of Sevruguin Photographs
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
Visitor Tag(s):

Arpee Album: Photograph of Imarat-i Shahristanak, Nasir Al-Din Shah's Royal Summer Villa, North of Tehran (Iran) [graphic]

Creator:
Sevruguin, Antoin d. 1933
Subject:
Sevruguin, Antoin d. 1933
Physical description:
1 albumen print : b&w ; 20.8 cm. x 14.4 cm
Type:
Albumen prints
Photograph albums
Photographic prints
Place:
Asia
Iran
Date:
Ca. 1880
Topic:
Architecture
Palaces
Qajar dynasty
Royalty (Nobility)
Local number:
FSA A2011.03 A.21a
Notes:
Title and Summary notes are provided by Shabnam Rahimi-Golkhandan, FSg research specialist
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a 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
Summary:
"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 white tents in front of the palace are the residences of the royal enourage." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "Albumen print, faded on the outer boundaries."
- On the mount, below the photographic print, handwritten caption (inked) in English reads, "Doshántepê. Country Palace of Shah."
- Handwritten Cyrillic signature in white (inked), probably by Antoin Sevruguin reads: "Cebpróôun."
Cite as:
Stephen Arpee Collection of Sevruguin Photographs. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington D.C., 2011
See more items in:
Stephen Arpee Collection of Sevruguin Photographs
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
Visitor Tag(s):

Arpee Album: Photograph of Kakh-i Saltanat-abad (Saltanat-Abad Palace), from Inside the Garden [graphic]

Creator:
Sevruguin, Antoin d. 1933
Subject:
Sevruguin, Antoin d. 1933
Physical description:
1 albumen print : b&w ; 23.2 cm. x 16.8 cm
Type:
Albumen prints
Photograph albums
Photographic prints
Place:
Asia
Iran
Date:
1880s - 1930
Topic:
Architecture
Palaces
Qajar dynasty
Royalty (Nobility)
Local number:
FSA A2011.03 A.21b
Notes:
Title and Summary notes are provided by Shabnam Rahimi-Golkhandan, FSg research specialist
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a 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
Summary:
"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. 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]
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "Albumen print, faded on the outer boundaries."
- On the mount, below the photographic print, handwritten caption (inked) in English reads, "Palace at Arajêb."
Cite as:
Stephen Arpee Collection of Sevruguin Photographs. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington D.C., 2011
See more items in:
Stephen Arpee Collection of Sevruguin Photographs
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
Visitor Tag(s):

Photograph of Shams-Al Emarat Palace at the Kakh-i Gulistan (Gulistan Palace Complex), Tehran (Iran) [graphic]

Creator:
Sevruguin, Antoin d. 1933
Subject:
Sevruguin, Antoin d. 1933
Kākh-i Gulistān (Tehran, Iran)
Physical description:
1 albumen print : b&w ; 15.7 cm. x 20.9 cm
Type:
Albumen prints
Photographic prints
Place:
Asia
Iran
Tehran (Iran)
Date:
Ca.1880
Topic:
Architecture
Palaces
Qajar dynasty
Royalty (Nobility)
Local number:
FSA A2011.03 B.20
Notes:
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a 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
Summary:
- Faded handwritten Cyrillic signature in white (inked), probably by Antoin Sevruguin reads: "Cebpróôun."
Cite as:
Stephen Arpee Collection of Sevruguin Photographs. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington D.C., 2011
See more items in:
Stephen Arpee Collection of Sevruguin Photographs
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
Visitor Tag(s):

Photograph of the Dari-Ahmasi at the Kakh-i Gulistan (Gulistan Palace Complex), Tehran (Iran) [graphic]

Creator:
Sevruguin, Antoin d. 1933
Subject:
Sevruguin, Antoin d. 1933
Kākh-i Gulistān (Tehran, Iran)
Physical description:
1 albumen print : b&w ; 20.1 cm. x 15.1 cm
Type:
Albumen prints
Photographic prints
Place:
Asia
Iran
Tehran (Iran)
Date:
1880s-1930
Topic:
Architecture
Palaces
Qajar dynasty
Royalty (Nobility)
Local number:
FSA A2011.03 B.23
Notes:
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a 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
Summary:
- Handwritten Cyrillic signature in white (inked), probably by Antoin Sevruguin reads: "Cebpróôun."
Cite as:
Stephen Arpee Collection of Sevruguin Photographs. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington D.C., 2011
See more items in:
Stephen Arpee Collection of Sevruguin Photographs
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
Visitor Tag(s):

Photograph of a Room at the Kakh-i Gulistan (Gulistan Palace Complex), Tehran (Iran) [graphic]

Creator:
Sevruguin, Antoin d. 1933
Subject:
Sevruguin, Antoin d. 1933
Kākh-i Gulistān (Tehran, Iran)
Physical description:
1 albumen print : b&w ; 20.6 cm. x 15.6 cm
Type:
Albumen prints
Photographic prints
Place:
Asia
Iran
Tehran (Iran)
Date:
1880s-1930
Topic:
Architecture
Palaces
Qajar dynasty
Royalty (Nobility)
Local number:
FSA A2011.03 B.19
Notes:
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a 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
Summary:
- Partial handwritten Cyrillic signature in white (inked), probably by Antoin Sevruguin reads: "Cebpróôun."
Cite as:
Stephen Arpee Collection of Sevruguin Photographs. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington D.C., 2011
See more items in:
Stephen Arpee Collection of Sevruguin Photographs
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
Visitor Tag(s):

Arpee Album: Photograph of a Room at the Kakh-i Gulistan (Gulistan Palace Complex), Tehran (Iran) [graphic]

Creator:
Sevruguin, Antoin d. 1933
Subject:
Sevruguin, Antoin d. 1933
Kākh-i Gulistān (Tehran, Iran)
Physical description:
1 albumen print : b&w ; 21.9 cm. x 15.1 cm
Type:
Albumen prints
Photograph albums
Photographic prints
Place:
Asia
Iran
Tehran (Iran)
Date:
1880s - 1930
Topic:
Architecture
Palaces
Qajar dynasty
Royalty (Nobility)
Local number:
FSA A2011.03 A.19a
Notes:
Title and Summary notes are provided by Shabnam Rahimi-Golkhandan, FSg research specialist
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a 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
Summary:
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "Albumen print, faded on the outer boundaries."
- On the mount, below the photographic print, handwritten caption (inked) in English reads, "Shah's Study."
- Handwritten Cyrillic signature in white (inked), probably by Antoin Sevruguin reads: "Cebpróôun."
Cite as:
Stephen Arpee Collection of Sevruguin Photographs. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington D.C., 2011
See more items in:
Stephen Arpee Collection of Sevruguin Photographs
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
Visitor Tag(s):

Arpee Album: Photograph of the Imarat-i Badgir (Wind-catcher Building) at the Kakh-i Gulistan (Gulistan Palace Complex), Tehran (Iran) [graphic]

Creator:
Sevruguin, Antoin d. 1933
Subject:
Sevruguin, Antoin d. 1933
Kākh-i Gulistān (Tehran, Iran)
Physical description:
1 albumen print : b&w ; 19.9 cm. x 13.8 cm
Type:
Albumen prints
Photograph albums
Photographic prints
Place:
Asia
Iran
Tehran (Iran)
Date:
Ca.1900
Topic:
Architecture
Palaces
Qajar dynasty
Royalty (Nobility)
Local number:
FSA A2011.03 A.04a
Notes:
Title and Summary notes are provided by Shabnam Rahimi-Golkhandan, FSg research specialist
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a 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
Summary:
"." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "Albumen print, faded on the outer boundaries."
- On the mount, below the photographic print, handwritten caption (inked) in English reads, "Waiting Pavillion Shah's city palace."
- Partial handwritten Cyrillic signature in white (inked), probably by Antoin Sevruguin reads: "Cebpróôun."
Cite as:
Stephen Arpee Collection of Sevruguin Photographs. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington D.C., 2011
See more items in:
Stephen Arpee Collection of Sevruguin Photographs
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
Visitor Tag(s):

Arpee Album: Photograph of the Dari-Ahmasi at the Kakh-i Gulistan (Gulistan Palace Complex), Tehran (Iran) [graphic]

Creator:
Sevruguin, Antoin d. 1933
Subject:
Sevruguin, Antoin d. 1933
Kākh-i Gulistān (Tehran, Iran)
Physical description:
1 albumen print : b&w ; 21.2 cm. x 15 cm
Type:
Albumen prints
Photograph albums
Photographic prints
Place:
Asia
Iran
Tehran (Iran)
Date:
1880s - 1930
Topic:
Architecture
Palaces
Qajar dynasty
Royalty (Nobility)
Local number:
FSA A2011.03 A.16b
Notes:
Title and Summary notes are provided by Shabnam Rahimi-Golkhandan, FSg research specialist
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a 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
Summary:
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "Albumen print, faded on the outer boundaries."
- On the mount, below the photographic print, handwritten caption (inked) in English reads, "Gateway to Palace."
- Handwritten Cyrillic signature in white (inked), probably by Antoin Sevruguin reads: "Cebpróôun."
Cite as:
Stephen Arpee Collection of Sevruguin Photographs. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington D.C., 2011
See more items in:
Stephen Arpee Collection of Sevruguin Photographs
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
Visitor Tag(s):

Arpee Album: Photograph of a Room at the Kakh-i Gulistan (Gulistan Palace Complex), Tehran (Iran) [graphic]

Creator:
Sevruguin, Antoin d. 1933
Subject:
Sevruguin, Antoin d. 1933
Kākh-i Gulistān (Tehran, Iran)
Physical description:
1 albumen print : b&w ; 21.4 cm. x 15 cm
Type:
Albumen prints
Photograph albums
Photographic prints
Place:
Asia
Iran
Tehran (Iran)
Date:
1880s - 1930
Topic:
Architecture
Palaces
Qajar dynasty
Royalty (Nobility)
Local number:
FSA A2011.03 A.18b
Notes:
Title and Summary notes are provided by Shabnam Rahimi-Golkhandan, FSg research specialist
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a 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
Summary:
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "Albumen print, faded on the outer boundaries."
- On the mount, below the photographic print, handwritten caption (inked) in English reads, "Ante Room of Palace."
- Handwritten Cyrillic signature in white (inked), probably by Antoin Sevruguin reads: "Cebpróôun."
Cite as:
Stephen Arpee Collection of Sevruguin Photographs. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington D.C., 2011
See more items in:
Stephen Arpee Collection of Sevruguin Photographs
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
Visitor Tag(s):

Arpee Album: Photograph of a Room at the Kakh-i Gulistan (Gulistan Palace Complex), Tehran (Iran) [graphic]

Creator:
Sevruguin, Antoin d. 1933
Subject:
Sevruguin, Antoin d. 1933
Kākh-i Gulistān (Tehran, Iran)
Physical description:
1 albumen print : b&w ; 21.5 cm. x 15.9 cm
Type:
Albumen prints
Photograph albums
Photographic prints
Place:
Asia
Iran
Tehran (Iran)
Date:
1880s - 1930
Topic:
Architecture
Palaces
Qajar dynasty
Royalty (Nobility)
Local number:
FSA A2011.03 A.19b
Notes:
Title and Summary notes are provided by Shabnam Rahimi-Golkhandan, FSg research specialist
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a 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
Summary:
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "Albumen print, faded on the outer boundaries."
- On the mount, below the photographic print, handwritten caption (inked) in English reads, "Ante Room of Palace."
- Faded handwritten Cyrillic signature in white (inked), probably by Antoin Sevruguin reads: "Cebpróôun."
Cite as:
Stephen Arpee Collection of Sevruguin Photographs. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington D.C., 2011
See more items in:
Stephen Arpee Collection of Sevruguin Photographs
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
Visitor Tag(s):

Arpee Album: Photograph of Shams-Al Emarat Palace at the Kakh-i Gulistan (Gulistan Palace Complex), Tehran (Iran) [graphic]

Creator:
Sevruguin, Antoin d. 1933
Subject:
Sevruguin, Antoin d. 1933
Kākh-i Gulistān (Tehran, Iran)
Physical description:
1 albumen print : b&w ; 15.5 cm. x 21.3 cm
Type:
Albumen prints
Photograph albums
Photographic prints
Place:
Asia
Iran
Tehran (Iran)
Date:
Ca. 1880
Topic:
Architecture
Palaces
Qajar dynasty
Royalty (Nobility)
Local number:
FSA A2011.03 A.20a
Notes:
Title and Summary notes are provided by Shabnam Rahimi-Golkhandan, FSg research specialist
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a 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
Summary:
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "Albumen print, faded on the outer boundaries."
- On the mount, below the photographic print, handwritten caption (inked) in English reads, "An---oom of City Palace."
- Faded handwritten Cyrillic signature in white (inked), probably by Antoin Sevruguin reads: "Cebpróôun."
Cite as:
Stephen Arpee Collection of Sevruguin Photographs. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington D.C., 2011
See more items in:
Stephen Arpee Collection of Sevruguin Photographs
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
Visitor Tag(s):

Photograph of the Imarat-i Badgir (Wind-catcher Building) at the Kakh-i Gulistan (Gulistan Palace Complex), Tehran (Iran) [graphic]

Creator:
Sevruguin, Antoin d. 1933
Subject:
Sevruguin, Antoin d. 1933
Kākh-i Gulistān (Tehran, Iran)
Physical description:
1 albumen print : b&w ; 20.8 cm. x 16 cm
Type:
Albumen prints
Photographic prints
Place:
Asia
Iran
Tehran (Iran)
Date:
1880s-1930
Topic:
Architecture
Palaces
Qajar dynasty
Royalty (Nobility)
Local number:
FSA A2011.03 B.18
Notes:
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a 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
Summary:
"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 Cyrillic signature in white (inked), probably by Antoin Sevruguin reads: "Cebpróôun."
Cite as:
Stephen Arpee Collection of Sevruguin Photographs. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington D.C., 2011
See more items in:
Stephen Arpee Collection of Sevruguin Photographs
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
Visitor Tag(s):

Arpee Album: Photograph of Nasir al-Din Shah and Attendants, at Maydan-I Mashq, Tehran (Iran) [graphic]

Creator:
Sevruguin, Antoin d. 1933
Subject:
Sevruguin, Antoin d. 1933
Nāsir al-Dīn Shāh Shah of Iran 1831-1896
Physical description:
1 albumen print : b&w ; 19.9 cm. x 13.8 cm
Type:
Albumen prints
Photograph albums
Photographic prints
Place:
Asia
Iran
Tehran (Iran)
Date:
1880 - 1900
Topic:
Qajar dynasty
Royalty (Nobility)
Local number:
FSA A2011.03 A.03a
Notes:
Title and Summary notes are provided by Shabnam Rahimi-Golkhandan, FSg research specialist
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a 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
Summary:
"The maydan (square) was built on the orders of Fath Ali Shah Qajar (b.1772-d.1834) and was expanded during Nasir al-Din Shah's time and in 1862 by Mirza Mohammad Khan Sipahsalar. The square was used primarily for military training, from eight to ten every morning, and military related events and apparently was the largest of its kind in 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, "Albumen print, faded on the outer boundaries."
- On the mount, below the photographic print, handwritten caption (inked) in English reads, "Nasr ed-din Shah and court."
Cite as:
Stephen Arpee Collection of Sevruguin Photographs. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington D.C., 2011
See more items in:
Stephen Arpee Collection of Sevruguin Photographs
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
Visitor Tag(s):

Arpee Album: Photograph of the Imarat-i Badgir (Wind-catcher Building) at the Kakh-i Gulistan (Gulistan Palace Complex), Tehran (Iran) [graphic]

Creator:
Sevruguin, Antoin d. 1933
Subject:
Sevruguin, Antoin d. 1933
Kākh-i Gulistān (Tehran, Iran)
Physical description:
1 albumen print : b&w ; 21.9 cm. x 15.9 cm
Type:
Albumen prints
Photograph albums
Photographic prints
Place:
Asia
Iran
Tehran (Iran)
Date:
1880s - 1930
Topic:
Architecture
Palaces
Qajar dynasty
Royalty (Nobility)
Local number:
FSA A2011.03 A.13a
Notes:
Title and Summary notes are provided by Shabnam Rahimi-Golkhandan, FSg research specialist
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a 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
Summary:
"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]
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "Albumen print, faded on the outer boundaries."
- On the mount, below the photographic print, handwritten caption (inked) in English reads, "'Court yard in Shah's city palace."
- Handwritten Cyrillic signature in white (inked), probably by Antoin Sevruguin reads: "Cebpróôun."
Cite as:
Stephen Arpee Collection of Sevruguin Photographs. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington D.C., 2011
See more items in:
Stephen Arpee Collection of Sevruguin Photographs
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
Visitor Tag(s):

Arpee Album: Photograph of the Front Courtyard at the Kakh-i Gulistan (Gulistan Palace Complex), Tehran (Iran) [graphic]

Creator:
Sevruguin, Antoin d. 1933
Subject:
Sevruguin, Antoin d. 1933
Kākh-i Gulistān (Tehran, Iran)
Physical description:
1 albumen print : b&w ; 20 cm. x 15.5 cm
Type:
Albumen prints
Photograph albums
Photographic prints
Place:
Asia
Iran
Tehran (Iran)
Date:
Ca. 1880
Topic:
Architecture
Palaces
Qajar dynasty
Royalty (Nobility)
Local number:
FSA A2011.03 A.16a
Notes:
Title and Summary notes are provided by Shabnam Rahimi-Golkhandan, FSg research specialist
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a 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
Summary:
"The photograph depicts the front courtyard of the palace, commonly used for Salam ceremonies which during the reigns of the first four kings of Qajar dynasty had gradually gained a special ceremonial function and was conducted with considerable care and through strict observance of specific rituals. The photograph depicts the space empty of people, however, instead showing the overall layout of the garden in relation to the balcony which housed the throne as the seating place of the king during official ceremonies." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "Albumen print, faded on the outer boundaries."
- On the mount, below the photographic print, handwritten caption (inked) in English reads, "Reception Room of Palace."
- Handwritten Cyrillic signature in white (inked), probably by Antoin Sevruguin reads: "Cebpróôun."
Publications:
Henry Binder, Au Kurdistan En Mesopotamie et en Perse, Paris: Maison Quantin, 1887, p:406
Cite as:
Stephen Arpee Collection of Sevruguin Photographs. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington D.C., 2011
See more items in:
Stephen Arpee Collection of Sevruguin Photographs
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
Visitor Tag(s):

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