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Photograph of Japanese Officer 1861

view Photograph of Japanese Officer 1861 digital asset number 1
Creator:
Sachtler, August
Physical description:
1 print albumen ; image 19.3 x 14.4 cm., mounted 26.8 x 21 cm
Type:
Photographs
Collection descriptions
Albumen prints
Portraits
Place:
Japan, Kanagawa Prefecture, Yokohama
Yokohama-shi (Japan)
Date:
1861
Summary:
One sepia monochrome albumen print take from a wet collodion glass plate negative, 20 x 15 cm., by August Sachtler (act. ca. 1860). Captioned "Japanese Officer" in pencil in the lower left margin. On the verso the inscription "Colonol Mann C.B. Royal Engineers" has been written in pencil. Image depicts a seated samurai, dressed in traditional clothing and holding two swords
Topic:
Samurai
Men
Local number:
FSA A2002.05
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives

Three Portraits of Royal Nepalese Women

view Three Portraits of Royal Nepalese Women digital asset number 1
Photographer:
Unknown
Physical description:
3 Photographs extent Hand-painted silver gelatin prints 8.5 x 6 3/8
Culture:
Nepalese
Type:
Photographs
Collection descriptions
Place:
Nepal
Summary:
Three portraits of royal Nepalese women, the daughters of the Rana of Nepal and the Prime MInister (1931-1943) Juddah Samshar Janga Badahar Rana. The photos likely date from the 1910s-1920s. Each is a hand-tinted gelatin silver print mounted on paper.
Cite as:
Three Portraits of Royla Nepalese Women. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington D.C
Local number:
FSA A2011.01
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives

Java, Tree Study 1870s

view Java, Tree Study 1870s digital asset number 1
Creator:
Woodbury & Page
Physical description:
1 print albumen
Type:
Photographs Albumen
Collection descriptions
Place:
Java
Indonesia
Date:
1870s
Summary:
Albumen print of a tree lined street in Java.
Cite as:
Woodbury & Page: Java, Tree Study. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington D.C
Local number:
FSA A1994.06
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives

Photograph of Tsangpo Valley

view Photograph of Tsangpo Valley digital asset number 1
Creator:
White, J. Claude (John Claude) b. 1853
Physical description:
1 print carbon 10 x 3.5 cm.; mounted 16 x 5 cm
Type:
Books
Collection descriptions
Place:
Tsangpo Valley
Tibet (China)
Notes:
John Claude White (1853-1918) was an amateur British photographer who spent his professional life working for the British Raj. From 1883 to 1908, White was stationed in Kathmandu and Sikkim. His famous images of the Himalayas were taken during this period. He accompanied Francis Younghusband on the British expedition to Tibet in 1903-1904 and made a number of landscape photographs during the campaign, including the image in this collection.
Summary:
This collection consists of one carbon print by John Claude White, depicting a panoramic view of the Tscangpo Valley, circa 1904.
Local number:
FSA A1998.06
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives

Morith Collection

view Morith Collection digital asset number 1
Creator:
Frick, Frank
Physical description:
I photography album : 151 prints;
2 box cameras
Type:
Photographs
Collection descriptions
Place:
Japan
Date:
1860
Notes:
Frank Frick was a merchant of Baltimore, Maryland, a patron of the arts, and during the last years of his life, traveler to Asia, Africa, and Europe. The album is 50 pages, each with hand tinted albumen prints and extensive hand painted margin decorations. The album itself is most likely American, but the photographs are Yokohama studio productions, mostly by the Tamamura studio. There are two vintage cameras: an 1898 Kodak :"Bullseye" and a 1920s Enemann Heig XII (not operational).
This photography album are from a dispersed set documeting Frick's world travels.
Summary:
One photography album of Frick's world travels. Also includes two box cameras.
Local number:
FSA A2013.03
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives

Portrait of Dr. Arthur M. Sackler

view Portrait of Dr. Arthur M. Sackler digital asset number 1
Creator:
Yuan Xikun
Physical description:
1 painting
Type:
Paintings
Collection descriptions
Portraits
Date:
1888
Notes:
The son of well-known painter, Yuan Xiaoling, Yuan Xikun began making art at an early age, working in his father's studio. Yuan later studied at an academy of fine arts, Yunnan Art College. He was also mentored by Jian Zhaohe, a master of traditional Chinese painting. For many years, Yuan Xikun has functioned as a cultural ambassador, having been commissioned to create portraits of over 100 international politicians and celebrities in both ink-and-wash and bronze, including Koffi Annan, Jacques Chirac, Boris Yeltsin and President Clinton. He continues to participate in many international causes. In 1995, he established a private museum, Beijing Jintai Art Museum.
One painting of Dr. Arthur M. Sackler.
Summary:
One painting of Dr. Arthur M. Sackler.
Local number:
FSA A1999.37
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives

James Marshall Plumer Papers, circa 1930's-1960

view James Marshall Plumer Papers, circa 1930's-1960 digital asset number 1
Creator:
Plumer, James Marshall
Subject:
Plumer, James Marshall
Physical description:
250 photographs : black and white
Type:
Photographs
Collection descriptions
Correspondence
Printed material
Drawings
Maps
Place:
China
Japan
Fujian
Zhejiang
Date:
193?
193?-1960
circa 1930s-1960
Notes:
James Marshall Plumer (1899-1960) , scholar of Asian art. After receiving his B.A. from Harvard, Plumer served as an administrative officer with the Chinese Government Service in Maritime Customs. From 1935 until his death, he taught art history at the University of Michigan while continuing to visit and work in China and Japan. In 1935 and 1937, Plumer discovered ancient kiln sites in the Chinese provinces of Fukien (Fujian) and Chekiang (Zhejiang). He wrote extensively on Chinese ceramics and edited the 'Far Eastern Ceramic Bulletin' from 1950 to 1958.
Summary:
Papers of the collection include: printed material, correspondence, drawings, and maps.
Photographs (which include silver gelatin photonegatives and photoprints) document Chinese ceramics and kiln sites in Fukien (Fujian) and Chekiang (Zhejiang) provinces, dating from ninth and tenth centuries, which were discovered by Plumer. Many of the images depict ceramics both at their original archaeological sites and in the laboratory. Most of the items are "wasters", imperfect ceramic objects that were broken at the kiln site at the time of manufacture. They include bowls, candlesticks, jars, tea cups, and vases. Other photographs show archaeological field workers including Plumer and local staff, field work activities, kilns, and the landscape surrounding the kilns.
Photographers and studios represented include the Fogg Art Museum of Harvard University, Charles B. Hoyt, Herbert Ingram, C.T. Loo, the Museum of Fine Arts (Boston), and James Marshall Plumer. Some photographs from this collection have been previously published or used in exhibitions.
Topic:
Ceramics
Kilns
Local number:
FSA A.14
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives

Samuel Bourne Photograph: Nautch Bungalow Shalimar circa 1860s. bulk dates

view Samuel Bourne Photograph: Nautch Bungalow Shalimar circa 1860s. bulk dates digital asset number 1
Creator:
Bourne, Samuel 1834-1912
Physical description:
1 print : albumen; image, 24 x 29 cm., mounted 31 x 40
Type:
Albumen prints
Collection descriptions
Photographs
Place:
India, Kashmir, Dal Lake
India
Srinagar (Jammu and Kashmir, India)
Date:
1860
circa 1860s
bulk dates
Notes:
Samuel Bourne (1834-1912) had already begun to earn recognition for his work in England, having exhibited at the London International Exhibition of 1862, when he decided to give up his position in a bank and depart for India to work as a professional photographer. He arrived in Calcutta early in 1863, initially setting up a partnership with William Howard. They moved up to Simla, where they established a new studio Howard & Bourne, to be joined in 1864 by Charles Shepherd, to form Howard, Bourne & Shepherd. By 1866, after the departure of Howard, it became Bourne & Shepherd, the name under which the firm continues to operate to this day. Although Bourne only spent 6 years in India, his time there was extremely productive. He undertook three major expeditions in the Himalayas, creating an impressive body of work which combined the highest technical quality and a keen artistic eye, while working under difficult physical conditions. Bourne left India for good in 1870, selling his interest in Bourne & Shepherd shortly thereafter and abandoning commercial photography.
The Shalimar Gardens were built by the Mughal emperor Jahangir (r.1605-27) for his wife Mehrunissa, called Nur Jahan, in 1616. The gardens were the inspiration for other gardens of the same name, notably the Shalimar Gardens in Lahore, Pakistan. A simple translation of nautch is "dance" or "dancing". The nautch bungalow was likely a residence for the young girls known as "Nautch girls", who performed one of several styles of popular dance known as Nautch. The performance of Nautch rose to prominence during the later period of Mughal Empire, gradually expanding outside the confines of the Imperial Courts.
Summary:
One albumen print of a nautch bungalow at the Shalimar Garden, Srinagar, India, circa 1860s. With two men next to a pool of water. Signed "Bourne 806" in black ink on bottom right of image. "Nautch Bungalow Shalimar" is inscribed on the board beneath the photograph.
Topic:
Shalimar Garden (Srinagar, India)
Gardens
Gardens, Mogul
Local number:
FSA A1998.07
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives

South Asia Photography Collection, 19th century

view South Asia Photography Collection, 19th century digital asset number 1
Photographer:
Burke, John d. 1900
Creator:
Scowen & Co
Shepherd & Robertson
Physical description:
8 prints : albumen ; images 24 x 29 cm. or smaller
Type:
Albumen prints
Collection descriptions
Photographs
Place:
Kandy (Sri Lanka)
Khyber Pass (Afghanistan and Pakistan)
Khyber (Pakistan)
Sikandra Rao (India)
Date:
19th century
Notes:
John Burke (1843-1900) was an Irishman who came to India as an apothecary with the Royal Engineers. A few years later, he became the assistant of the photographer William Baker. At the start of the Second Anglo-Afghan War, Burke tried to go as an official photographer with the British Army, but his request was refused. He decided to travel with the Army at his own expense, financing his trip by selling photographs depicting the life of British soldiers and native people of India. It was in this context that Burke took some of the earliest photographs of Afghanistan.
Summary:
Taken in the later 19th and early 20th centuries, these photographs portray the people, architecture and landscape of Sri Lanka, India and what is now the Pakistan-Afghanistan border area. The collection consists of 8 photographic prints: 1. Natives of Rajputana, signed "Shepherd & Robertson Photo 1120" in black ink in the lower left corner; 2, Native Soldiers in Armour, unsigned; 3. Kandyan Chiefs and Government Agent, signed "Scowen & Co." in white ink in the lower left corner; 4. Taj Mahal, unsigned; 5. Mausoleum of the Great Akbar at the Secundra, unsigned; 6. Ali Musjid and Surroundings from Rotass, Looking Down on Fort, Showing Ascent with River, signed "Burke 28" in white ink in the lower left corner; 7. A Khyber Village, signed " Burke 32" in black ink and in white ink in the lower left corner; 8. Rifle Practice, signed "Burke 285" in black ink in the lower left corner.
Topic:
Rajput (Indic people)
Akbar--Tomb
Soldiers
Forts
Taj Mahal (Agra, India)
Local number:
FSA A1992.07
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
Additional Online Media:

Thomas Daniell Collection, 1803

view Thomas Daniell Collection, 1803 digital asset number 1
Creator:
Daniell, Thomas 1749-1840
Physical description:
1 vol. : ill.; 77 x 59 cm. & pencil and ink wash on paper (73 x 46 cm.)
Type:
Aquatints
Collection descriptions
Drawings
Place:
India, Maharashtra, Ellora Caves
India
Ellora Caves (India)
Date:
1803
Notes:
These aquatints depict the archaeological site known as Ellora, located approximately 19 miles from the city of Aurangabad in the Indian state of Maharashtra. Known for its monumental caves, Ellora is an outstanding example of Indian rock-cut architecture. The 34 "caves" - structures excavated out of the vertical face of the Charanandri hills - are Buddhist, Hindu and Jain rock-cut temples and monasteries, dating from between the 5th century and 10th century. English landscape painter Thomas Daniell (1749-1840), who is best known for his monumental 6-volume work "Oriental Scenery", visited Ellora at some point during his 10 years of travel in India. Coming at a time when there was increased interest on the part of the English elite in the customs, culture and architecture of distant lands, Daniell's work offered a new vision of "exotic" India that would influence both decorative artists and architects.
Summary:
Collection consists of two items: 1. "Oriental Scenery, Vol. 5. Hindoo Excavations in the Mountain of Ellora, near Aurungabad, in the Decan." Atlas folio, 77 x 59 cm., bound in contemporary quarter roan over marbled boards, with 24 hand-colored aquatints by James Wales under the direction of Thomas Daniell and an engraved aquatint title page. Self-published by Daniell in London, 1808. Depicts images of the rock-cut architecture at the Ellora Caves near Aurangabad. 2. Original pencil and wash sketch by Thomas Daniell, depicting a waterfront scene populated by a group of small figures, some holding umbrellas. Unsigned, undated, 73 x 46 cm, backed with thicker paper.
Topic:
Rock-cut architecture
Local number:
FSA A2001.04
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives

Willoughby Wallace Hooper Photograph of Grasscutters in India, circa 1870-1904

view Willoughby Wallace Hooper Photograph of Grasscutters in India, circa 1870-1904 digital asset number 1
Creator:
Hooper, Willoughby Wallace 1837-1912
Physical description:
1 print : albumen image 19 x 31 cm., mounted 40 x 51 cm
Type:
Photographs
Collection descriptions
Albumen prints
Place:
India
Date:
1870
circa 1870-1904
Notes:
Hooper was an English army officer who spent over 40 years in India. Early in his career, he became known for being an avid and accomplished amateur photographer. As a result, in 1862 Hooper was transferred to the 4th Cavalry where he worked almost exclusively on acquiring portraits of the people of Central India. These portraits were undertaken as part of the India Office's efforts to assemble a vast database of visual information and descriptive texts on the complex society of colonial India. This database would eventually be published as a monumental eight-volume catalog entitled "The People of India: a Series of Photographic Illustrations, with Descriptive Letterpress, of the Races and Tribes of Hindustan." Hooper was also known for his photographs of the Madras Famine of 1876-1878 and the Third Burmese War.
Summary:
This collection consists of one item: Albumen print by Col. Willoughby Wallace Hooper, depicting a family of grass cutters in Indian, circa 1870s.
Topic:
East Indians
Local number:
FSA A1998.04
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives

Panorama of Elphinstone Circle, Bombay, ca. 1870s

view Panorama of Elphinstone Circle, Bombay, ca. 1870s digital asset number 1
Creator:
ANONYMOUS
Physical description:
4 prints : albumen, mounted contiguously ; overall dimensions 22 x 111 cm
Type:
Albumen prints
Collection descriptions
Photographs
Place:
India, Maharashtra, Bombay (Mumbai)
India
Bombay (India)
Date:
1870
ca 1870s
1860-1880
Notes:
The Elphinstone Circle was a large garden complex in south Bombay, laid out in 1869 and completed in 1972. With the support of then-governor Lord Elphinstone, the green space known as Bombay Greens was converted into a circle surrounded by buildings, with walkways and trees planted throughout and an ornamental fountain in the center. The whole park was then renamed Elphinstone Circle after the governor. In 1947, the garden was again renamed, this time in honor of Benjamin Horniman, the editor of the Bombay Chronicle and supporter of Indian independence.
Summary:
Four albumen prints by an anonymous photographer, mounted contiguously on paper, depicting a panoramic view of the Elphinstone Circle (Horniman Circle Gardens), Bombay (Mumbai).
Topic:
Gardens
Parks
Local number:
FSA A2000.02
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives

Still Prints of Asia: Street view in Bhoondi, ca. 1900

view Still Prints of Asia: Street view in Bhoondi, ca. 1900 digital asset number 1
Creator:
Bourne and Shepherd
Bourne and Shepherd
Physical description:
1 print : carbon ; 37 x 61 cm
Type:
Photographs
Collection descriptions
Place:
Bundi (India : District)
Date:
1888
Notes:
Samuel Bourne and Charles Shepherd were British photographers active in India in the mid-to-late 19th century. Bourne's career began with his arrival in Calcutta in 1863. In Simla, he formed a partnership with two established photographers, Shepherd and Howard (likely William Howard). Howard soon left, and within a few years, Bourne & Shepherd had become the most successful firm in the subcontinent, with their work widely distributed throughout India and in Britain. Two additional studios were opened in Calcutta (1867) and Bombay (1870). Bourne departed in 1870 and was replaced as principal photographer by Colin Murray. Shepherd returned to England in 1879. The firm changed ownership numerous times in the early 20th century and currently operates under the same name in Calcutta -- perhaps the oldest photographic studio still in operation.
Bundi is a district in the state of Rajasthan in northwest India; during the era of British rule, Bundi was a princely state.
Summary:
One carbon print, circa late 19th or early 20th century, with title, photographers' credit and reference number 2292 in the negative, appearing on the print in white on the lower left and right corners. Depicts a street scene in Bhoondi (probably Bundi), with hills in the background and Indian architecture and people in the foreground.
Local number:
FSA A1999.31
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives

Photographs of Sri Lanka, circa 1880s

view Photographs of Sri Lanka, circa 1880s digital asset number 1
Photographers:
Scowen & Co
Physical description:
3 prints : albumen
Type:
Landscapes (representations)
Collection descriptions
Albumen prints
Photographs
Portraits
Place:
Sri Lanka (Ceylon), Kandy, Kandy
Sri Lanka
Kandy (Sri Lanka)
Ceylon
Date:
1880
1880-1889
circa 1880s
Notes:
British photographer Charles T. Scowen arrived in Ceylon (now Sri Lanka) in the early 1870s, where he was first employed as a clerk. By 1876, Scowen had established a studio, Scowen & Co., in Kandy, with a second location appearing in Columbo by the 1890s. There appear to have been several Scowens working in the studios, as Charles T. Scowen returned to England in 1885. C. Scowen was listed as the proprietor until 1891 and M. Scowen was the proprietor when the firm was finally sold in 1893. Images from Scowen & Co. were used to illustrate a number of books about Ceylon and the tea trade.
Summary:
Three albumen prints by the studio of Scowen & Co., circa 1880s, depicting a lake in Kanda, a group of Kandyan chiefs, and T.B. Panabokka and his family. Panabokka was the Kandyan member of the Legislative Council.
Topic:
Families
Local number:
FSA A1994.05
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
Additional Online Media:

Milo Beach collection, Samuel Bourne Photographs, circa 1870

view Milo Beach collection, Samuel Bourne Photographs, circa 1870 digital asset number 1
Creator:
Bourne, Samuel 1834-1912
Physical description:
1 print : albumen from wet collodion negative ; 24 x 29 cm
1 print : albumen from wet collodion negative ; 23 x 29 cm
1 print : albumen from wet collodion negative ; 24 x 29 cm
Type:
Photographs
Collection descriptions
Albumen prints
Place:
India
Ellora Caves (India)
Date:
1870
circa 1870
Notes:
Samuel Bourne (1834-1912) had already begun to earn recognition for his work in England, having exhibited at the London International Exhibition of 1862, when he decided to give up his position in a bank and depart for India to work as a professional photographer. He arrived in Calcutta early in 1863, initially setting up a partnership with William Howard. They moved up to Simla, where they established a new studio Howard & Bourne, to be joined in 1864 by Charles Shepherd, to form Howard, Bourne & Shepherd. By 1866, after the departure of Howard, it became Bourne & Shepherd, the name under which the firm continues to operate to this day. Although Bourne only spent 6 years in India, his time there was extremely productive. He undertook three major expeditions in the Himalayas, creating an impressive body of work which combined the highest technical quality and a keen artistic eye, while working under difficult physical conditions. Bourne left India for good in 1870, selling his interest in Bourne & Shepherd shortly thereafter and abandoning commercial photography.
The Qutb Minar in Delhi, India, is the world's tallest brick and stone minaret, standing 72.5 meters high. The structure is one of the earliest examples of Indo-Islamic architecture and was commissioned by India's first Muslim ruler, Qutb-ud-din Aibak, marking the beginning of Muslim rule which would end only with the arrival of the British in the 19th century. Ancient Hindu temples located on the site were torn down and the debris was used in the construction.
The archaeological site known as Ellora is located approximately 19 miles from the city of Aurangabad in the Indian state of Maharashtra. Known for its monumental caves, Ellora is an outstanding example of Indian rock-cut architecture. The 34 "caves" - structures excavated out of the vertical face of the Charanandri hills - are Buddhist, Hindu and Jain rock-cut temples and monasteries, dating from between the 5th century and 10th century.
Bibi Ka Maqbara, which translates as "Tomb of the Lady," is a mausoleum near Aurangabad. Modeled after the Taj Mahal, the Bibi Ka Maqbara was built between 1651 and 1661 by Prince Azam Khan Shah, son of the Mugal Emperor Aurangzeb, in honor his mother Rabia Durani, also known as Dilras Banu Begum.
Summary:
This collection consists of three photographic prints, mounted on board, by Samuel Bourne: I. Albumen print from wet collodion negative, 24 x 29 cm., circa 1870, signed on the plate with the catalog number 1340. Penciled in the lower right corner "Kutab Minar with the Great Arch and From the West - Delhi". Photo depicts the Qutb Minar at Quwwat al-Islam mosque in Delhi. II. Albumen print from wet collodion negative, 23 x 29 cm., circa 1870. Depicts the Jain temple known as the Court of Indra at the Ellora Caves near Aurangabad in the Indian state of Maharashtra. III. Albumen print from wet collodion negative, 24 x 29 cm., circa 1870. Depicts the Bibi Ka Maqbara (Tomb of Rabia Durrani) in Aurangabad.
Topic:
Mausoleums
Kutb Minar (Delhi, India)
Temples
Rock-cut architecture
Local number:
FSA A2001.05
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
Additional Online Media:

Photograph of Duanfang and Colleagues

view Photograph of Duanfang and Colleagues digital asset number 1
Creator:
Sickman, L. C. S (Laurence C. S.) (Collector)
Subject:
Duanfang 1861-1911
Physical description:
Silver gelatin
1 photographic print : b&w ; 17.5 x 23 cm
Type:
Photographs
Collection descriptions
Place:
China, Beijing, Beijing
China
Date:
1907
Qing dynasty, 1644-1912
Notes:
Duanfang was an officer in the Qing court who amassed an important art collection, which included jades, bronzes, paintings and sculpture. Duanfang worked in many different positions, including as a customs officer and a provincial governor. In the summer of 1905, Duanfang travelled to the West to research how governments in the United States and Europe functioned. In 1911, Duanfang travelled to Sichuan Province to oversee railroad construction. At the outbreak of the Xinhai Revolution, Duanfang was beheaded by his own imperial troops, who were sympathetic to local revolutionaries.
Summary:
This photograph depicts Duanfang and other men surrounding a bronze altar set that was later acquired by the Metropolitan Museum of Art. The photograph was acquired by art historian Laurence Sickman, who lent if for many years to the Metropolitan where it was displayed in the galleries with the bronze alter set.
Cite as:
Photograph of Duanfang and Colleagues with bronze altar, Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C., Gift of Thomas Lawton
Topic:
Manchu
History
Local number:
FSA A2004.03
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives

Samuel Bourne Photograph: Mausoleum of Prince Etmad-Dowlach, Agra, circa 1860s

view Samuel Bourne Photograph: Mausoleum of Prince Etmad-Dowlach, Agra, circa 1860s digital asset number 1
Creator:
Bourne, Samuel 1834-1912
Subject:
Ghiyas Beg, Mirza d. 1627
Physical description:
I print : albumen; image 23 x 29 cm., mounted 31 x 40 cm
Type:
Photographs
Collection descriptions
Albumen prints
Place:
India, Uttar Pradesh, Agra
India
Agra (India)
Date:
1860
circa 1860s
1860-1880
Notes:
Samuel Bourne (1834-1912) had already begun to earn recognition for his work in England, having exhibited at the London International Exhibition of 1862, when he decided to give up his position in a bank and depart for India to work as a professional photographer. He arrived in Calcutta early in 1863, initially setting up a partnership with William Howard. They moved up to Simla, where they established a new studio Howard & Bourne, to be joined in 1864 by Charles Shepherd, to form Howard, Bourne & Shepherd. By 1866, after the departure of Howard, it became Bourne & Shepherd, the name under which the firm continues to operate to this day. Although Bourne only spent 6 years in India, his time there was extremely productive. He undertook three major expeditions in the Himalayas, creating an impressive body of work which combined the highest technical quality and a keen artistic eye, while working under difficult physical conditions. Bourne left India for good in 1870, selling his interest in Bourne & Shepherd shortly thereafter and abandoning commercial photography.
This photograph depicts the tomb of Mirza Ghiyas Beg, located in Agra, India. An important official of the Mughal empire. Ghiyas Beg served as the chief treasurer during the rule of Emperor Jahangir, and was given the title I'timād-ud-Daulah (i.e. Etmad-Dowlach), or Pillar of the State. The tomb, which is considered an architectural predecessor of the Taj Mahal, was commissioned by Nur Jahan, Ghiyas Beg's daughter and the wife of Jahangir.
Summary:
One albumen print of the mausoleum of Prince Etmad-Dowlach (Agra, India), circa 1860s. View from an angle with two Indian men in the center of the photograph. Signed "Bourne 1233" in the lower left corner of the image.
Topic:
Mausoleums
Local number:
FSA A1998.08
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives

Photograph of Ladies of the Beijing Legations January 1902

view Photograph of Ladies of the Beijing Legations January 1902 digital asset number 1
Photographer:
Unknown
Physical description:
1 photographic print : Silver gelatin print 8 x 10.5 in
Type:
Photographic prints
Collection descriptions
Place:
China
Beijing (China)
Date:
1902
January 1902
Notes:
The Legations women first visited the palace on January 1st, following the return of the Empress and Empress Dowager from exile. Pictured in the first row at center is Sarah Pike Conger, the wife of the American Minister to Beijing, and doyen of the legation women. This print was likely a gift to family members from the wife of the Italian ambassador, the Baroness Romano Avezzano (pictured in the front row, far left),
Summary:
A large print, showing a group of men, women and children standing before a Western-style building. On the back, captioned originally in pencil is "Photograph taken in Front of American Legation Peking China of the ladies and children of the Diplomatic Corps in January 1902 before going to the Audience of the Emperor and Empress Dowager of China." The rest of the caption is a complete list of the individuals.
Cite as:
Photograph of Ladies of the Beijing Legations. Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Smithsonian Institution, Washington, D.C. Gift of Dr. Thomas Lawton
Topic:
Diplomacy
Embassies
Qing dynasty, 1644-1912
Local number:
FSA A2010.06
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives

Jay A. Bisno Collection of Sevruguin Photographs, 1969-1985

view Jay A. Bisno Collection of Sevruguin Photographs, 1969-1985 digital asset number 1
Creator:
Sevruguin, Antoin -1933
Subject:
Sevruguin, Antoin -1933
Nāsir al-Dīn Shāh Shah of Iran 1831-1896
Physical description:
18 albumen prints : b&w
Type:
Albumen prints
Collection descriptions
Photographic prints
Studio portraits
Place:
Asia
Iran
Tehran (Iran)
Date:
1985
1969-1985
Notes:
Jay A. Bisno (b. 1939) was Los Angeles County Museum of Natural History curator of archaeology.
Summary:
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.
Cite as:
Jay Bisno Collection of Sevruguin Photographs. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington D.C. Gift of Jay Bisno, 1985
Topic:
Clothing and dress
Criminal procedure
Landscapes
Executions and executioners
Headgear
Portrait photography
Religious buildings
Royalty (Nobility)
Local number:
FSA A.15
Restrictions:
Access is by appointment only, Monday through Thursday 10:00 a.m. to 5:00 p.m. Please contact the Archives to make an appointment: AVRreference@si.edu
See more items in:
Jay Bisno Collection of Sevruguin Photographs 1969-1985
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives

Myron Bement Smith Collection: Antoin Sevruguin Photographs

view Myron Bement Smith Collection: Antoin Sevruguin Photographs digital asset number 1
Creator:
Smith, Myron Bement 1897-1970
Collector:
Smith, Myron Bement 1897-1970
Photographer:
Sevruguin, Antoin -1933
Subject:
Smith, Myron Bement 1897-1970
Sevruguin, Antoin -1933
Muzaffar al-Dīn Shāh 1853-1907 Shah of Iran
Nāsir al-Dīn Shāh Shah of Iran 1831-1896
Reza Shah Pahlavi Shah of Iran 1878-1944
Islamic Archives
Physical description:
Photographic prints : 66 items; various dimensions
Glass Negatives : 695 items; b&w ; 13 cm. x 18 cm
Photographic prints : 98 items; various dimensions
Type:
Photographic prints
Collection descriptions
Glass negatives
Gelatin silver prints
Place:
Asia
Iran
Iraq
India
Uzbekistan
Baghdad (Iraq)
Basṭām (Iran)
Bīshāpūr (Extinct city)
Dāmghān (Iran)
Delhi (India)
Fīrūzābād (Iran)
Hamadān (Iran)
Iṣfahān (Iran)
Naqsh-i Rustam (Iran)
Pasargadae (Extinct city)
Persepolis (Iran)
Tāq-e Bostān Site (Iran)
Tehran (Iran)
Date:
1880s-1933
Notes:
Titles and summary notes are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
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.
Summary:
- 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.
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
Topic:
Abbasids
Ancient Near Eastern Art
Antiquities
Architecture
Art of the Islamic World
Clothing and dress
Criminal procedure
Executions and executioners
Headgear
Inscriptions
Landscapes
Portrait photography
Pottery
Relief (Sculpture)
Religious buildings
Royalty (Nobility)
Sassanids
Shrines
Textile design
Local number:
FSA A.04 2.12
Restrictions:
Access is by appointment only, Monday through Thursday 10:00 a.m. to 5:00 p.m. Please contact the Archives to make an appointment: AVRreference@si.edu
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

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