1 Item (paper squeeze, b&w, 19 in.x 27 in. (48.3 cm. x 68.6 cm.))
Type:
Archival materials
Paper squeezes
Place:
Asia
Iraq
Paikuli (Iraq)
Date:
1911-1923
Scope and Contents:
- Original handwritten annotation reads, "."
- Additional information from staff, based on Helmut Humbach and Prods O. Skjærvø's publication reads."Inventory number of the squeeze according to the notes left by Herzfeld is D'.9."
- Additional information from Joseph Upton's Finding Aid reads, "No. 99 ([neg.] 4408) Pahlavik, unpublished."
- Information from Helmut Humbach and Prods O. Skjærvø's publication reads, "The ruin of the Sassanian monument of Paikuli is situated close to the southern ascent to the [Paikuli] pass. Originally, the monument consisted of a solid square tower. Four identical colossal busts of one and the same king of kings were built into the four walls. The western wall bore a large Middle-Persian inscription (eight rows of blocks, with a total of 46 lines), whereas the eastern wall bore the Parthian version of this (seven rows, with a total of 42 lines, all of them surviving in a fragmentary state. The subject of the inscription, carefully carved and written in perspective, is the quarrel over the succession, between Narseh (293-303) and Varahrān (293). In the course of his first two expeditions, in 1911 and 1913, E. Herzfeld had discovered a total of 97 inscribed blocks (54 Middle Persian, 43 Parthian). On his last visit to Paikuli in 1923, Herzfeld excavated the site and found 30 additional blocks (20 Middle Persian, 10 Parthian), which raise the total number of surviving blocks to 133." [Helmut Humbach and Prods O. Skjærvø's publication, 1980: "The Sassanian Inscription of Paikuli; Supplement to Herzfeld's Paikuli. Wiesbaden: Reichert; pp.13-16."]
Arrangement:
Papers squeezes are organized in sequential number following language scripts, which are housed in folders, and stored in metal flat files.
Local Numbers:
M-099
FSA A.6 06.M099
General:
- Title is provided by Xavier Courouble, FSg Archives cataloger, based on Helmut Humbach and Prods O. Skjærvø's publication, "The Sassanian Inscription of Paikuli; Part I; Supplement to Herzfeld's Paikuli. Wiesbaden: Reichert, 1978." and Joseph Upton's Finding Aid.
Date/Time and Place of an Event Note:
Paper squeezes related primarly to two expeditions to Paikuli (Iraq), in 1911 and 1913, as well an excavation campaign carried out on site by Ernst Herzfeld in 1923.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Drawings are arranged roughly in sequential number sequences, housed in document boxes or in flat file folders by size, and stored in the map case drawers.
Local Numbers:
D-341a
FSA A.06 05.0341a
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Original caption on verso reads, "Danlatabad, Sistan. Dastgird, between Birgand and Qibuk. Khunik near Nih."
Arrangement:
Drawings are arranged roughly in sequential number sequences, housed in document boxes or in flat file folders by size, and stored in the map case drawers.
Local Numbers:
D-341
FSA A.06 05.0341
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Drawings are arranged roughly in sequential number sequences, housed in document boxes or in flat file folders by size, and stored in the map case drawers.
Local Numbers:
D-650
FSA A.06 05.0650
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Drawings are arranged roughly in sequential number sequences, housed in document boxes or in flat file folders by size, and stored in the map case drawers.
Local Numbers:
D-342
FSA A.06 05.0342
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
- Original caption on verso reads, "Waramin. Imamzadeh 'Ala al-din. Unpubl. ."
- Sketchbook in Ernst Herzfeld Papers; SK-2, p.36.
Varamin (Iran): Ala al-Din Tomb Tower: Ground Plan of the Flanged Mausoleum [drawing]
Arrangement:
Drawings are arranged roughly in sequential number sequences, housed in document boxes or in flat file folders by size, and stored in the map case drawers.
Local Numbers:
D-380
FSA A.06 05.0380
General:
- Title is provided by Xavier Courouble, FSg Archives cataloger, based on Ernst Herzfeld original drawings'caption and Joseph Upton's Catalogue of the Herzfeld Archive.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
- Original caption on verso reads, "Waramin. Unpubl."
- Sketchbook in Ernst Herzfeld Papers; SK-2, p.39.
Varamin (Iran): Brick Wall with Geometrical Ornamentation [drawing]
Arrangement:
Drawings are arranged roughly in sequential number sequences, housed in document boxes or in flat file folders by size, and stored in the map case drawers.
Local Numbers:
D-384
FSA A.06 05.0384
General:
- Title is provided by Xavier Courouble, FSg Archives cataloger, based on Ernst Herzfeld original drawings'caption and Joseph Upton's Catalogue of the Herzfeld Archive.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Original title on verso reads, "Waramin. Unpubl. ."
Varamin (Iran): Brick Wall with Geometrical Ornamentation [drawing]
Arrangement:
Drawings are arranged roughly in sequential number sequences, housed in document boxes or in flat file folders by size, and stored in the map case drawers.
Local Numbers:
D-386
FSA A.6 05.0386
General:
- Title is provided by Xavier Courouble, FSg Archives cataloger, based on Ernst Herzfeld original drawings'caption and Joseph Upton's Catalogue of the Herzfeld Archive.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
- Glass plates in Ernst Herzfeld Papers: [FSA A.6 04.GN.3213; FSA A.6 04.GN.3214].
Original caption on verso reads, "nat. Gr., B? Mr. T. L. Jacks (APUC) Teheran, K?, s?. Harsin."
Harsin, in Luristan (Iran): Reconstruction of Decorated Copper Can with Spout [drawing]
Arrangement:
Drawings are arranged roughly in sequential number sequences, housed in document boxes or in flat file folders by size, and stored in the map case drawers.
Local Numbers:
D-679
FSA A.06 05.0679
General:
- Title is provided by Xavier Courouble, FSg Archives cataloger, based on Ernst Herzfeld original drawing's caption and Joseph Upton's Catalogue of the Herzfeld Archive.
Date/Time and Place of an Event Note:
Drawing probably related to campaigns of investigation at Nahāvand (Iran), carried out by Ernst Herzfeld between 1923 and 1931.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Original caption on verso reads, "vignette for Anjuman Athār-i Millī."
Tehran (Iran): Design of Vignette for Anjuman Athar-i Milli (Soc. for the Protection of National Monuments) [drawing]
Arrangement:
Drawings are arranged roughly in sequential number sequences, housed in document boxes or in flat file folders by size, and stored in the map case drawers.
Local Numbers:
D-759
FSA A.06 05.0759
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Original annotated caption in German reads, "Takht-i Sulaimān."
Takht-i Rustam in Shahriyar District, Tehran Province (Iran): Remains of Shrine or Temple around the Top of the Mountain: Topographical Sketch, [drawing]
Arrangement:
Drawings are arranged roughly in sequential number sequences, housed in document boxes or in flat file folders by size, and stored in the map case drawers.
Local Numbers:
D-1174
FSA A.06 05.1174
General:
- Title is provided by Xavier Courouble, FSg Archives cataloger, based on Ernst Herzfeld original drawings'caption and Joseph Upton's Catalogue of the Herzfeld Archive.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
- 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]
Arrangement:
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. 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."
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.
Local Numbers:
FSA A.4 2.12.GN.07.08
General:
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
The Myron Bement Smith Collection, FSA A.04. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of Katherine Dennis Smith.
"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]
Arrangement:
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. 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."
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.
Local Numbers:
FSA A.4 2.12.GN.15.11
General:
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
The Myron Bement Smith Collection, FSA A.04. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of Katherine Dennis Smith.
- 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]
Arrangement:
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. 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."
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.
Local Numbers:
FSA A.4 2.12.GN.29.01
General:
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
The Myron Bement Smith Collection, FSA A.04. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of Katherine Dennis Smith.
"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]
Arrangement:
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. 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."
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.
Local Numbers:
FSA A.4 2.12.GN.31.10
General:
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
The Myron Bement Smith Collection, FSA A.04. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of Katherine Dennis Smith.
"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]
Arrangement:
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. 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."
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.
Local Numbers:
FSA A.4 2.12.GN.31.11
General:
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
The Myron Bement Smith Collection, FSA A.04. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of Katherine Dennis Smith.
- 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]
Arrangement:
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. 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."
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.
Local Numbers:
FSA A.4 2.12.GN.31.12
General:
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
The Myron Bement Smith Collection, FSA A.04. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of Katherine Dennis Smith.
- 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]
Arrangement:
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. 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."
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.
Local Numbers:
FSA A.4 2.12.GN.38.01
General:
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
The Myron Bement Smith Collection, FSA A.04. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of Katherine Dennis Smith.
- 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]
Arrangement:
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. 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."
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.
Local Numbers:
FSA A.4 2.12.GN.38.03
General:
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
The Myron Bement Smith Collection, FSA A.04. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of Katherine Dennis Smith.
- 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]
Arrangement:
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. 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."
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.
Local Numbers:
FSA A.4 2.12.GN.38.08
General:
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
The Myron Bement Smith Collection, FSA A.04. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of Katherine Dennis Smith.