"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]
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. 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."
Biographical / Historical:
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction 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.4 2.12.GN.40.07
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Collection is open for research.
Permission to publish, quote, or reproduce must be secured from the repository.
The Myron Bement Smith Collection. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C.