"The photo shows the northern wall of the Canons' square or Maydan-i Tupkhana. The new Canons' square and the two storey buildings surrounding it was built between 1867 and 1877 on the north side of the old Canons' square or Maydan-i Arg. The two storey building in the background of the image surrounding the square was initially planned as a reservoir of military equipment and a meeting and living place of military officials. A large and shallow pool, surrounded by trees and greenery and a railing around the whole area was constructed in the middl eof the square. Adjacent to the railing, the canons of the military surrounded the central pool. The photo is taken before the construction of the new city hall in 1921-22 on the same side of the square." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The negative is a dark brown all over."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "964."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "232) Makshmaidan." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 20 (# 232): Naksh-maidan." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
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 20."
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.20.02
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 sides are rough."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "960."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "657."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 22.1: Landscape." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
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 22."
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.22.01
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.
"The sign on the building reads: Marizkhana'i Mubaraka-i Dawlati, Darb-i Vorudi (Public Hospital, Entrance). The hospital was built in or around 1873. The guard in front of the door, however, is in Pahlavi-era military attire." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 22.2: Alley." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
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 22."
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.22.02
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 cossack brigade was established in 1879, modelled after the Russian Cossack formations. The brigade remained under the rule of Russian officers well after the Russian revolution of 1917, with its first Iranian commander being Riza Khan (1920). The brigade - initially comprised of only 400 men and later expanded to accomodate the service of around 8000 -became increasingly identified with the royal police force, standing on the side of Qajar king of the time, Mohammad Ali Shah, during the constitutional revolution of 1908. The photo depicts the brigade in Tehran's Maydan-i Mashq. Maydan-i Mashq in Tehran was constructed during the reign of Fath Ali Shah Qajar and expanded and renovated during Nasir al-Din shah's reign and on the orders of Mirza Mohammad Khan Sipahsalar. The square was noted as the biggest one of its kind in Tehran." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "963."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1285."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 22.3: Parade." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
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 22."
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.22.03
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.
Genre/Form:
Glass negatives
Collection Citation:
The Myron Bement Smith Collection, FSA A.04. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of Katherine Dennis Smith.
"One of the most influential men of Nasir Al-Din Shah's court, Mushir al-Dawla was appointed as the minister of army in 1897. He was later appointed as the minister of foreign affairs. His two sons, Hassan and Hussayn Pirnia both became prominent politicians of Pahlavi era. Hassan Pirnia was the prime minister of Riza Shah and a long time minister of various departments and Hussayn Pirnia was the chief council of national congress for many years. The portrait was taken not in the photographer's studio but inside a garden. Mushir al-Dawla is sitting on a high chair that back of which is carefully removed in the image, traces of which is visible on the left shoulder of the figure." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "Small touch up on the shoulders of the figure."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 22.4: Man." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
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 22."
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.22.04
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 is very thick."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 22.5: Kajar (?) residence." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
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 22."
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.22.05
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.
1 Item (photographic print, b&w, 16.8 cm. x 22 cm.)
Type:
Archival materials
Gelatin silver prints
Photographic prints
Place:
Asia
Iran
Date:
1880s-1928
Scope and Contents:
Joseph Upton purchased 66 black-and-white gelatin silver photoprints in 1928 from Antoin Sevruguin in Tehran (Iran), and subsequently donated them to the Committee for Islamic Culture, as reported in their official minutes of October 24, 1953.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "36."
- On verso of the print, handwritten number (penciled) reads, "174."
- On verso of the print, handwritten caption (penciled, probably by Antoin Sevruguin) in French reads, "Les Bohémiennes."
Arrangement:
Gelatin silver prints arranged in sequential number following Joseph Upton's handwritten list of captions, and ultimately organized by Myron B. Smith into subject categories (royalty, people, executions, criminals, punishment, architecture). This print is in the following subject category: People.
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, although his family studio continued for some time as a commercial enterprise.
Local Numbers:
58.G.43
[Myron Bement Smith collection. Freer/Sackler Archives, No. A.4.66]
FSA A.4 2.12.Up.43
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.
1 Item (photographic print, b&w, 16.5 cm. x 22.6 cm.)
Type:
Archival materials
Gelatin silver prints
Photographic prints
Place:
Asia
Iran
Date:
1880s-1928
Scope and Contents:
Joseph Upton purchased 66 black-and-white gelatin silver photoprints in 1928 from Antoin Sevruguin in Tehran (Iran), and subsequently donated them to the Committee for Islamic Culture, as reported in their official minutes of October 24, 1953.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "157."
- On verso of the print, handwritten number (penciled) reads, "116."
- On verso of the print, handwritten caption (penciled, probably by Antoin Sevruguin) in French reads, "Kurdesse."
Arrangement:
Gelatin silver prints arranged in sequential number following Joseph Upton's handwritten list of captions, and ultimately organized by Myron B. Smith into subject categories (royalty, people, executions, criminals, punishment, architecture). This print is in the following subject category: People.
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, although his family studio continued for some time as a commercial enterprise.
Local Numbers:
58.G.22
[Myron Bement Smith collection. Freer/Sackler Archives]
[17(A2)]
FSA A.4 2.12.Up.22
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.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "818."
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "732."
- On verso of the print, handwritten number (penciled) reads, "38.8."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Fārs; Persepolis (Takht-I Djamshīd; Hall of 100 Columns."
Arrangement:
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran; Architecture; Landscapes). This print is in the following subject category: Architecture - Pre-Islamic.
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, although his family studio continued for some time as a commercial enterprise.
Local Numbers:
[18(C4)]
FSA A.4 2.12.Sm.22
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.
This collection is primarily the work of one individual, Donald Harvey Sultner, known professionally as Donald Sultner-Welles (1914-1981). The collection forms a written and visual record of Sultner's family, life, and career from 1913-1980. Its major strength is Sultner's photographic documentation of the world during his travels, ca. 1950-1980. Work by other photographers and artists, correspondence, greeting cards, and contemporary memorabilia and ephemera are included, along with fewer than fifty examples of earlier materials, ca. 1790-1900, collected by Sultner.
The entire collection reflects Sultner's lifework and interests. Housed in boxes the collection is organized into eleven series: Personal Papers; Professional Papers; Lecture Materials; Biographical Materials; Transparencies; Photoprints; Photonegatives; Prints, Drawings, Mixed Media; Audio Tapes; Miscellaneous; and Steve Eyster Addenda. The arrangement within each series is based as closely as possi-ble on Sultner's own organization of the materials. However, in several instances similar materials were found separated and have been placed together. In addition, obvious filing mistakes and spelling errors have been corrected. The spelling of geographic place names is based on Official Standard Names prepared by the U.S. Board on Geographic Names, Office of Geography, U.S. Department of the Interior. Not all names given by Sultner were found in the gazetteers, so there may be errors.
The bulk of the collection consists of 2-1/4-inch by 2-1/4-inch color transparencies (Series 5). However, the manuscript materials (Series 1-4) provide a detailed complement to the transparencies. For example, from the mid-1950s until the late 1970s, Sultner kept a travel diary (Se-ries 1). Written on the backs of postcards, this stream-of-consciousness journal reflects not only his daily trips, but his impressions of the countries and thoughts on his photography. A juxtaposition of cards with images is especially useful in understanding what Sultner photographed as well as why and how he photographed it. Sultner's professional corre-spondence (Series 2) documents the various types of groups before which he performed and equipment manufacturers dealt with for cameras, projectors, and so on. Notes, drafts, and final lectures (Series 3) present the performance side of Sultner. This material, when viewed with tapes of concerts and slides, begins to recreate the photo-concert as Sultner presented it. Scrapbooks (Series 4), kept by Sultner from the 1940s to the 1980s, present Sultner's life and career in chronological fashion.
The transparency portion of the collection (Series 5), containing over 87,000 images, is especially rich because of its documentation of the countries of the world. People are seen at their daily tasks, such as washing clothes, marketing, shopping, and eating. Cities are documented as they changed over the years. Two areas in particular will be of spe-cial interest to European and Asian researchers. The first is Sultner's USIS Asian tour in 1959. He visited Japan, Java, India, Korea, the Phil-ippines, Laos, Cambodia and Vietnam. The serene, prewar cities and coun-tryside of Laos, Cambodia, and Vietnam evince nothing of the devastation to come in the 1960a and 70s.
The second area of interest is Sultner's passion for documenting archi-tecture. As a guest of the German government in 1954, Sultner documented the devastation of World War II and photographed both the reconstruction of bombed buildings and the construction of buildings reflecting "new" postwar architectural styles. In addition to photographing post-WW II styles, throughout his career Sultner documented Palladian, baroque and Rococo architecture. This interest manifested itself in several of his lectures.
A third subject area of interest to Sultner was gardens. Among his first lectures following his USIS tour was "Gardens of the World." Sultner de-veloped this theme into an ongoing commitment to ecology, culminating in a filmstrip, "The Time is Now" (Series 10), prepared for the Hudson River Conservation Society in the 1960s. Carl Carmer, a noted author, wrote the text for the filmstrip. Sultner's taped interviews, lectures, and program music (Series 9) complement the transparencies. During his USIS-sponsored Asian tour in 1959, Sultner recorded impressions of his trip on tape. Interviews with people living in the countries he visited, radio interviews, and his own personal reflections are included. Of particular interest are his "No Harm Asking" interviews in Manila (tape #2), his interview of two French hotel managers in Saigon discussing post-French control conditions (tape #9), and--perhaps the most unusual--his discussion with Erna Hanfstaengl about her personal relationship with Adolf Hitler (tape #107). Scripts for lectures (Series 3) round out the documentation of Sultner's profes-sional work.
Because of the arrangement of the transparencies, it is necessary to check several areas for the same subject. For example, Vietnam images are in the "World" section alphabetically under Vietnam (box 81). Sult-ner also lectured on Vietnam, so there are Vietnamese images in the "framed subjects" (Boxes 137-138). Another example, perhaps more compli-cated, but more common to Sultner, was his distinguishing between images of unidentified "People" and identified "Portraits." Transparency stud ies of human beings will be found under the subseries "People." "Subjects --Portraits," various countries in the subseries "World," and "Lectures." There are also individuals in the black-and-white photoprints (Series 6), and photonegatives (Series 8). The painter and print-maker Charles Shee-ler appears in a number of locations, as does tenor Roland Hayes. Another area of complexity with regard to people concerns the transparencies and negatives. Sultner interfiled his transparencies and negatives of iden-tified individuals. For appropriate storage, these two different formats have been arranged in separate series. Therefore, instead of container lists for the two series, there is a combined alphabetical index to both (pp. 166-206).
Of tangential interest are the photoprints (Series 6), etchings, wood-cuts, and other prints (Series 8) collected by Sultner. One particular subseries of interest contains photographs presented to Sultner by Asian photographers during his 1959 tour. Over 45 images were given to Sultner and represent the standards of camera-club photography in the 1950s. Thesecond subseries consists of over 25 prints by the Italian-American art-ist Luigi Lucioni (1900- ). For further information on this artist,see The Etchings of Luigi Lucioni, -A Catalogue Raisonne', by Stuart P.Embury (Washington, 1984). Lucioni also painted Sultner's portrait in1952 and the "People" section of the transparencies contains a number of images of Lucioni at work. Another significant category is the Japanese prints, including two by a major nineteenth-century artist, Ando Hiro-shige (1797-1858).
Arrangement:
The collection is arranged into eleven series.
Series 1: Personal Papers, 1923-1981
Series 2: Professional Papers, 1954-1980
Series 3: Lecture Materials, 1952-1980
Series 4: Biographical Materials, 1954-1980
Series 5: Transparencies, 1947-1980
Series 6: Photoprints, 1913-ca. 1980
Series 7: Photonegatives, 1929-1981
Series 8: Prints, Drawings, Mixed Media, ca. 1790-1979
Series 9: Audio Tapes, 1947-1980
Series 10: Miscellaneous, 1947-1980
Series 11: Steve Eyster Addenda, 1937-1980
Biographical / Historical:
Donald Harvey Sultner was bom in York, Pennsylvania, on April 13, 1914, the son of Lillian May Arnold Sultner and Harvey A. Sultner. In 1923 Sultner attended the Lewis Institute in Detroit, Michigan, to overcome a speech impediment. He entered the Wharton School of the University of Pennsylvania in 1932 and graduated in 1936. Sultner studied merchandising and sang in the glee club, then under the direction of composer Harl MacDonald. Sultner, a baritone, continued his interest in music and studied voice with Reinald Werrenrath and with Florence Benedict and Bruce Benjamin in New York City. In the late 1940s and early 1950s he appeared in concert with accompanists at schools, clubs, and resort hotels along the East Coast.
It appears that photography was always an important part of Sultner's life. Using a small format (120) camera, he recorded his vacation travels around the United States and Canada, parties, and his family. While living in New York, Sultner continued photographing friends and family and began photographing the famous people he encountered on his concert tours. In the early 1950s he began taking 2-1/4-inch by 2-1/4-inch color transparencies (slides) of landscapes and architecture as he traveled giving concerts.
Sultner, who had taken the stage name of "Sultner-Welles," began what was to be his lifework as a professional "photo-lecturer" in 1952. He illustrated his talks on nature, art, architecture, and the environment with his color slides. In 1954 Sultner toured West Germany as a guest of the Bonn government, and in 1959 he lectured in Asia under the auspices of the U.S. State Department. He was dubbed the "camera ambassador." Constantly adding new material to his collection of slides, Sultner traveled extensively throughout the United States, speaking before garden clubs, cultural organi-zations, and schools. He also appeared aboard various ships of the Holland-America line during a number of cruises abroad.
Sultner had established his performance style by the early 1960s. He expanded his lectures to include a combination of art, words, and music. The expanded presentation resulted in the "photo-concert," a unique synthesis of light and sound that Sultner frequently per-formed with a symphony orchestra. The Baltimore Symphony Orchestra commissioned "Concertino for Camera and Orchestra" by Eric Knight with Sultner in mind. The world premiere was in Baltimore in March 1979. While he spoke on many art, garden, and architectural topics, Sultner specialized in subjects relating to the baroque and rococo periods and Palladian architecture.
Sultner died of cancer in York, Pennsylvania, on March 25, 1981, at the age of 67.
1914 -- April 13, born York, Pennsylvania.
1929 -- In Detroit at Lewis Institute to overcome a speech impediment.
1932 -- To University of Pennsylvania.
1935 -- Summer trip to Roanoke (VA), Picketts, Hershey (PA); fall trip to New England for fraternity (AXP) convention.
1936 -- Spring glee club trip; graduated from the Wharton School of the University of Pennsylvania; summer trips to Newport News (VA), northern trip to Canada, Picketts (PA).
1937 -- Fall trip to Williamsburg (VA), Duke University (NC); Sultner family begins building "Glen Hill" (Dover, PA).
1938 -- Summer at home, and Picketts (PA), Camp Pratt.
1939 -- Spring trip to Washington, D.C.; September trip to The Homestead (WV), Hot Springs (WV), Virginia; Lake Mohonk (NY).
1940 -- Summer trip to New Orleans, Blowing Rock (NC); winter trip to Skytop Club (NY); fall trip to Atlantic City (NJ), Philadelphia (PA), Annapolis (MD).
1941 -- Winter 1941-42 appearance in "Hit the Deck." Lake Mohonk (NY) with Ted Walstrum (Sept. 22-23); Skytop Club (NY) (February); summer trip to Canada, Lake Chazy (NY) (Aug. 17-23).
1942 -- Spring in Atlantic City (NJ); summer to Buck Hill Falls, Lakes Chazy and Mohonk.
1943 -- Summer trip to Mohonk (NY).
1944 -- Summer: To Toronto (Ontario), Muskoka Lake, Bigwin Island, Montreal (Quebec), Mohonk (NY).
1946 -- To Mohonk (NY), Ogunquit (ME), Old Saybrook (CT), Nantucket (RI).
1947 -- Singing tour of Canada and New England; winter-spring tour to Georgia and Florida.
1948 -- To Florida and Nassau, Feb.-Mar., Vermont, July-Aug.; Nassau-Havana-Miami-Bermuda, October.
1949 -- Singing tour of North and South Carolina.
1950 -- Summer trip to South.
1951 -- To District of Columbia, Massachusetts, New Hampshire, [New Jersey?], New York, Vermont.
1952 -- January 9: first public photo-concert, Pennsylvania Academy of the Arts, Philadelphia; trips to Connecticut, Florida, Massachusetts, New Hampshire, New Jersey, New York, Rhode Island, South Carolina, Vermont.
1953 -- To Connecticut, Florida, Georgia, Massachusetts, New Hampshire, New Jersey, New York, Pennsylvania, South Carolina, Vermont.
1954 -- Guest of German government for a study tour in the fall. To District of Columbia, Florida, Georgia, Massachusetts, New Hampshire, New Jersey, New York, North Carolina, Pennsylvania, South Carolina, Virginia.
1955 -- To Holland; Connecticut, District of Columbia, Florida, Massachusetts, New Hampshire, New York, North Carolina, Pennsylvania, South Carolina, Vermont, Virginia.
1956 -- To California, District of Columbia, Florida, Georgia, Illinois, Indiana, Massachusetts, New Jersey, New York, North Carolina, Ohio, Pennsylvania, South Carolina, Tennessee, Virginia.
1957 -- Holland-America Cruise to Germany, Austria, Italy. To Connecticut, Illinois, Massachusetts, New Hampshire, New Jersey, New York, North Carolina, Ohio, Pennsylvania, Vermont, Virginia.
1958 -- Holland-America Cruises to Germany, Austria, Holland, Italy, Switzerland. To Connecticut, Florida, Georgia, Illinois, Massachusetts, Minnesota., Missouri, New Hampshire, New York, Pennsylvania, Rhode Island, South Carolina, Tennessee, Vermont, Wisconsin.
1959 -- United States Information Service (USIS)-sponsored tour of Asia: Burma, Cambodia, Hong Kong, India, Indonesia, Japan, Korea, Laos, Malaya, Philippines, Singapore, Taiwan, Thailand, Turkey, Vietnam. Also visited Austria, Czechoslovakia, Germany, Greece, Iran, Italy, Spain; Alaska, California, Massachusetts, New York, Pennsylvania.
1960 -- Holland-America Cruise to Austria, Belgium, Caribbean, France, Germany, Holland, Italy, Morocco. To Arizona, California, Florida, Indiana, Massachusetts, Minnesota, Nevada, New Hampshire, New Mexico, New York, Texas, Utah, Virginia, Washington, Wisconsin.
1961 -- To Canada, France, Germany, Switzerland; Alabama, California, Colorado, Connecticut, Florida, Georgia, Idaho, Illinois, Louisiana, Mississippi, Missouri, Montana, New Hampshire, New Jersey, New York, North Carolina, Ohio, Oregon, Pennsylvania, Rhode.Island, South Dakota, Tennessee, Utah, Vermont, Virginia, Washington, Wisconsin.
1962 -- Portfolio, "Autumn in Vermont," with introduction by Carl Carmer, published in Autumn issue of Vermont Life. Holland-America Cruise to Denmark, England, France, Germany, Holland, Italy, Sweden. To Connecticut, District of Columbia, Florida, Illinois, Iowa, Massachusetts, Michigan, New York, North Carolina, Pennsylvania, South Carolina, Vermont, Virginia.
1963 -- Holland-America Cruise to Caribbean, Canada, Sweden, Thailand. To Alabama, California, District of Columbia, Florida, Georgia, Illinois, Louisiana, Massachusetts, Minnesota Mississippi, Missouri, New Hampshire, New Jersey, N;w York, Ohio, Pennsylvania, Texas, Vermont, Virginia, Washington.
1964 -- Holland-America Cruise to Germany, Canada, England, Holland, Wales. To Delaware, District of Columbia, Indiana, Kentucky, Massachusetts, New Hampshire, New York, Ohio, Pennsylvania, Texas, Virginia.
1965 -- Holland-America Cruise to Austria, Czechoslovakia, France, Germany, Holland, Portugal, Wales. To Arkansas, Connecticut, District of Columbia, Indiana, Kentucky, New Hampshire, New York, Pennsylvania, Vermont, Virginia.
1966 -- Holland-America Cruise to Caribbean, Germany, France, Holland, Italy, Portugal, Switzerland. To New Jersey, North Carolina, Pennsylvania, South Carolina, Tennessee, Virginia.
1967 -- Holland-America Cruise to Caribbean, Austria, Denmark, England, Germany, Holland, Italy, Portugal, Sweden, Wales. To Massachusetts, New Jersey, New York, Rhode Island, Vermont, Virginia.
1968 -- To Germany; Massachusetts, New Hampshire, New Jersey, New York, Ohio, Pennsylvania, Vermont, Virginia.
1969 -- To England, France, Germany, Holland, Switzerland; Ohio, Pennsylvania, Virginia.
1970 -- Holland-America Cruise to Caribbean, Denmark, Iceland, Sweden. To Alabama, District of Columbia, Florida, Georgia, Massachusetts, New Hampshire, New York, Pennsylvania, South Carolina, Vermont, Virginia.
1971 -- Holland-America Cruise to Caribbean, Canada, Denmark, Italy, Portugal, Sweden. To Alabama, Georgia, Massachusetts, Nebraska, New Hampshire, New York, North Carolina, Pennsylvania.
1972 -- Holland-America Cruise to Asia, Pacific, Caribbean, Africa, Austria, Italy, Japan, Thailand, Turkey. To California, New Jersey, New York, Pennsylvania, Rhode Island, Virginia.
1973 -- Holland-America Cruise to Austria, Denmark, Germany, Holland, Iceland, Sweden. To California, Connecticut, District of Columbia, Massachusetts, New York, Ohio, Pennsylvania, Vermont.
1974 -- To Germany, Switzerland; California, Illinois, Massachusetts, New Jersey, New York, Ohio, Pennsylvania, Virginia.
1975 -- To Austria; California, Connecticut, District of Columbia, Massachusetts, New Jersey, New York, North Carolina, Pennsylvania, Virginia.
1976 -- To Canada; Connecticut, District of Columbia, Illinois, Iowa, Massachusetts, Missouri, Nebraska, New Mexico, New York, Ohio, Pennsylvania, Utah.
1977 -- To Canada, Germany; New York, Pennsylvania, Vermont, Virginia.
1978 -- To Scotland; Connecticut, Florida, Georgia, Kentucky, Massachusetts, New York, Pennsylvania, Rhode Island, South Carolina.
1979 -- To England; Florida.
1980 -- To Florida.
1981 -- March 25: Sultner dies of cancer, York, Pennsylania.
Introduction:
The Donald H. Sultner-Welles Collection, ca. 1790-1981, came to the National Museum of American History in 1982 from the estate of Mr. Sultner. The collection was created by Sultner over his adult life and represents one of the most extensive collections of color transparencies created by one individual and held in a public repository. Sultner's emphasis was on world culture. He took the majority of his photographs in the eastern United States, western Europe, and Asia. Gardens, architecture, and people are the three major subject areas represented in the collection. Of additional interest are Sultner's taped impressions of his 1959 United States Information Service (USIS)-sponsored Asian tour. The collection occupies 309 boxes and covers more than 83 cubic feet.
The Donald H. Sultner-Welles Collection is open to researchers in the Archives Center, third floor east, of the National Museum of American History, between 12th and 14th Streets, on Constitution Avenue, N.W., Washington, D.C. 20560. The Archives Center is open Monday through Friday from 10:00 a.m. to 5:00 p.m. Written and telephone (202/357-3270) inquiries are welcome and researchers are encouraged to contact the Archives Center before their arrival. The FAX number is 202/786-2453.
This is the eleventh in a series of occasional guides to collections in the Archives Center. Finding aids to other collections are available. The Guide to Manuscript Collections in the National Museum of History and Technology (1978) and an updated compilation contain brief descriptions of all archival holdings in the Museum. All current Archives Center holdings are available for search on the Smithsonian Institution Bibliographic Information System (SIBIS), an online database.
Restrictions:
Collection is open for research but a portion of the collection is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
A small number of letters and photographs are restricted until the year 2031. Identification list in box.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
The collection includes contributions from 101 former volunteers or administrators who served in such countries and regions as Afghanistan, Antigua, Bolivia, Botswana, Brazil, Burkina Faso, Cameroon, Central African Republic, Ceylon, Chad, Chile, China, Colombia, Costa Rica, Dahomey, Dominican Republic, Ecuador, El Salvador, Ethiopia, Gabon, Ghana, Guatemala, Guinea, Honduras, India, Indonesia, Iran, Ivory Coast, Jamaica, Kenya, Korea, Liberia, Malawi, Malaysia, Marshall Islands, Micronesia, Morocco, Nepal, Niger, Nigeria, Oman, Pakistan, Panama, Peru, Philippines, Senegal, Sierra Leone, Somalia, Swaziland,Tanzania, Thailand, Togo, Tunisia, Turkey and Upper Volta.
The volunteers were involved in diverse assignments such as education, community development, agriculture, health work, and service through such special skills as art, surveying, mechanics, and photography. Two additional collections are including materials of missionaries that were offered to the archives as the result of the program to collect Peace Corps materials. Included are diaries, correspondence, writings, printed and processed material, sound recordings, and administrative materials. There are also photographic materials that show such subjects as traditional and modern agriculture, architecture, body scarification, ceremonies, dance, dress, fishing, food preparation and other domestic activities, industry, medicine, and transportation.
Please note that the contents of the collection and the language and terminology used reflect the context and culture of the time of its creation. As an historical document, its contents may be at odds with contemporary views and terminology and considered offensive today. The information within this collection does not reflect the views of the Smithsonian Institution or National Anthropological Archives, but is available in its original form to facilitate research.
Arrangement:
Arranged numerically, with indexes based upon creator names and subject of materials.
Historical note:
In 1975, Herman Joseph Viola, the director of the National Anthropological Archives; Saul Herbert Riesenberg, the curator for Oceania Ethnology in the Smithsonianʹs Department of Anthropology; and Dirk Ballendorf, assistant chief of programs and training for Peace Corps operations in North Africa, the Near East, Asia, and the Pacific, worked out a program whereby the archives would collect materials of former Peace Corps volunteers. In addition to photographic and other materials of potential use to many researchers, the collection was intended to document the impact of the volunteers on host countries and the experiences of the volunteers in working in foreign cultures.
Rights:
Contact the repository for terms of use. In some cases, copyright or literary property rights have been retained by the donor.
1 Item (photographic print, b&w, 22.5 cm. x 15.7 cm.)
Container:
Item Print 9
Type:
Archival materials
Photographs
Gelatin silver prints
Photographic prints
Place:
Asia
Iran
Persepolis (Iran)
Date:
1898-1902
Scope and Contents:
Additional information from Finding Aid reads, "Subseries 4.5: Photo File 5 (3 vols.). 'Persepolis.' Subseries 4.5.3: Vol.3, Image No. 9: Persepolis. King stabbing monster."
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "818."
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "732."
Persepolis (Iran): Northern Wall of the Throne Hall (Talar-i Takht) [graphic]
Arrangement:
The Archive contains Herzfeld's glass negatives which he arranged by general categories into 16 separate Photo files, irrespective of the number on the negative. He also collected photographic prints from many sources for study purposes. So far as possible, Joseph Upton has identified and placed these prints in the appropriate Photo file.
Biographical / Historical:
Antoin Sevruguin (1830s-1933) was an official photographer of the Imperial Court of Iran whose commercial photography studio was one of the most successful in Tehran from the late 1870s to about 1934. The astonishing range of Antoin Sevruguin's photographs, and the prolific output of the studio, provides today's viewer with an important resource for examining the cultural histories and hierarchical elements of Iranian society. They assist the scholar in studying architectural sites that may have been damaged or destroyed, or are unavailable for first-hand investigation. Increasingly, the prints are valued for their artistic elements that may sometimes overshadow their documentary value. Most significantly, Sevruguin's images form part of an ongoing history that links a distant past and place to the present.
Local Numbers:
Box 3, File 5, Folder 9, Image 9
FSA A.6 04.PF.05.v3.009
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.
172 Photographic prints (Volume one: 4 folders, b&w, 29.2 cm. x 22.8 cm.)
Type:
Archival materials
Photographic prints
Place:
Asia
Iran
Iraq
Bīshāpūr (Extinct city)
Paikuli (Iraq)
Persepolis (Iran)
Shīrāz (Iran)
Date:
1903-1946
Scope and Contents:
This group of prints was arranged by Herzfeld, apparently as a survey of Sasanian architecture. Many of the prints also appear in Photo File 7. The abbreviations of books where photos are published are as follows:
AHI--rchaeological History of Iran, Herzfeld
IAE--ran in the Ancient East, Herzfeld
Paikuli--aikuli Monument ..., Herzfeld
- Caption, in german (probably by Ernst Herzfeld), on album folder reads: "Sasanidischer Bauten."
- "Photo File 25", which was assembled by Joseph Upton, provides 172 photographic prints which relate primarly to Sassanid buildings at Paqaleh (Iran), Firuzabad and vicinity (Iran), Khurha (Iran), Istakhr (Iran), Island of Kharg (Iran), Masjid i Sulaiman (Iran), Sistan (Iran), Shahristan (Iran), Kuh-i Khwaja (Iran), Takht-i Rustam in Shahriyar District (Iran), Hajjiabad (Iran), Persepolis (Iran), Nurabad (Iran), Nizamabad (Iran), Farrashband (Iran), Shiraz (Iran), Kazerun (Iran), Bishapur (Iran), Qasr-i Shirin (Iran), as well as Ctesiphon and Paikuli (Iraq).
Ernst Herzfeld Papers, Series 4: Photographic Files; Sassanid Architecture (Photo File 25)
Arrangement:
- Of most of his 3,890 glass negatives, Herzfeld had blueprints made which he arranged in 16 binders irrespective of the number on the negative. In addition to the 16 blueprint binders, he assembled five albums including Photo Files, Nos. 22, 23, 25, 27, and 28. In early 1970s, Joseph Upton reorganized the whole Herzfeld collection of photographic prints into 42 photographic files, assembling 10 additional files in excess of the 24 existing files arranged by Herzfeld himself. The eight remaining files, File 35 to File 42, are made of duplicate prints provided by the Oriental Institute of the University of Chicago. Photo file 25 follows an album prepared by Herzfeld in which he had arranged prints in a sequence for study or publication on Sassanid buildings. The order in the photo file retains that in the album.
Local Numbers:
Ernst Herzfeld Papers; Photo File 25
FSA A.6 04.PF.25
General:
- Title is provided by Xavier Courouble, FSg Archives cataloger, based on 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.
Handwritten notes accompanying related print in photo file 17 reads, "Kūh-i Khwāja, 1929. Back row, Arabs from left: -Jumail, Sayyid-Jawad, Qasim, -Jawad's son. Front row, Persians from left: Husain Agha (Herzfeld's cook), Ghulam Husain (valet)."
Additional information from Finding Aid reads, "Subseries 4.17: Photo File 17, Image No. 1 (Negative Number: 3967). Herzfeld's Persian and Arab staff at Kūh-I Khwāja."
Arrangement:
Glass Negatives, numbered from 1 to 3850, are housed in document boxes, and stored on shelves.
Local Numbers:
FSA A.6 04.GN.3967
General:
Title is provided by FSg Archives staff based on Joseph Upton's Finding Aid and Trudy S. Kawami, Lawrence Becker and Robert Koestler's publication, "Kuh-e Khwaja, Iran, and Its Wall Paintings: The Records of Ernst Herzfeld. Metropolitan Museum Journal, Vol. 22, (1987)."
Date/Time and Place of an Event Note:
Glass negatives related primarly to a visit and a campaign of excavation at Kuh-e Khwaja (Iran), carried out by Ernst Herzfeld in February 1925 as well as in February/March 1929.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Handwritten notes accompanying related print in photo file 17 reads, "Kūh-i Khwāja, 1929. Front row: 2nd from left, Persian Commissioner, center, Herr Barthus, second row from left, first figure?, Sayyid-Jawad, Qasim, Gendarme, Ghulam Husain, -Jawad's son. Stone fire altar in foreground."
Additional information from Finding Aid reads, "Subseries 4.17: Photo File 17, Image No. 2 (Negative Number: 3968). The staff with Herr Barthus, who removed paintings from walls."
Arrangement:
Glass Negatives, numbered from 1 to 3850, are housed in document boxes, and stored on shelves.
Local Numbers:
FSA A.6 04.GN.3968
General:
Title is provided by FSg Archives staff based on Joseph Upton's Finding Aid and Trudy S. Kawami, Lawrence Becker and Robert Koestler's publication, "Kuh-e Khwaja, Iran, and Its Wall Paintings: The Records of Ernst Herzfeld. Metropolitan Museum Journal, Vol. 22, (1987)."
Date/Time and Place of an Event Note:
Glass negatives related primarly to a visit and a campaign of excavation at Kuh-e Khwaja (Iran), carried out by Ernst Herzfeld in February 1925 as well as in February/March 1929.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Excavation of Kuh-e Khwaja (Iran): Ruins of Ghaga-Shahr, "Palace-Temple" Complex, South Gate: View of Ernst Herzfeld's Expedition Crew Members and Improvised Kitchen
Handwritten notes accompanying related print in photo file 17 reads, "Room used as kitchen off main entry with cook, Husain Agha, and Herzfeld's valet, Ghulam Husain. Kūh-i Khwāja."
Additional information from Finding Aid reads, "Subseries 4.17: Photo File 17, Image No. 14 (Negative Number: 3980). Room used as kitchen off main entry."
Arrangement:
Glass Negatives, numbered from 1 to 3850, are housed in document boxes, and stored on shelves.
Local Numbers:
FSA A.6 04.GN.3980
General:
Title is provided by FSg Archives staff based on Joseph Upton's Finding Aid and Trudy S. Kawami, Lawrence Becker and Robert Koestler's publication, "Kuh-e Khwaja, Iran, and Its Wall Paintings: The Records of Ernst Herzfeld. Metropolitan Museum Journal, Vol. 22, (1987)."
Date/Time and Place of an Event Note:
Glass negatives related primarly to a visit and a campaign of excavation at Kuh-e Khwaja (Iran), carried out by Ernst Herzfeld in February 1925 as well as in February/March 1929.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "Albumen print, faded on the outer boundaries."
Arrangement:
Page fifty-six of an album of 99 mounted albumen prints with attractive leather covers and embossed green star-and-crescent design.
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, although his family studio continued for some time as a commercial enterprise.
Local Numbers:
FSA A2011.03 A.56a
General:
Title and Summary notes are provided by Shabnam Rahimi-Golkhandan, FSg research specialist.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
