Search Results

Creator:

Scurlock Studio (Washington, D.C.)  Search this

Scurlock, Robert S. (Saunders), 1917-1994  Search this

Custom Craft  Search this

Scurlock, Addison N., 1883-1964  Search this

Scurlock, George H. (Hardison), 1919-2005  Search this

Names:

Howard University -- 20th century  Search this

DuBois, W.E.B. (William Edward Burghardt), 1868-1963  Search this

Washington, Booker T., 1856-1915  Search this

Extent:

320 Boxes

Type:

Collection descriptions

Archival materials

Photographs

Matrices, color separation

Dye transfer process

Studio portraits

Color separation negatives

Place:

Washington (D.C.) -- Small business -- 20th century

Washington (D.C.) -- African Americans

Shaw (Washington, D.C.)

Date:

undated

Summary:

The Scurlock photographic studio was a fixture in the Shaw area of Washington, DC from 1911 to 1994, and encompassed two generations of photographers, Addison N. Scurlock (1883-1964) and his sons George H. (1920- 2005) and Robert S. (1916-1994). Subseries 4.1 includes black and white silver gelatin negatives. An overview to the entire Scurlock collection is available here: Scurlock Studio Records

Scope and Contents:

Subseries 4.1 includes black and white silver gelatin negatives. The majority of the negatives, not all, have been scanned.

Arrangement note:

The negatives are not arranged in a clear order, and the negatives document clients and subjects. Researchers will need to look in two different box sizes for negatives of different sizes that were originally housed together in freezer boxes but are now housed separately according to size. A number of freezer boxes are missing, this is the reason for box number gaps, and contain varying numbers of negatives. The physical number of boxes was condensed during rehousing but the original freezer box numbers were retained in combination on the new boxes. The beginning and end of a freezer box are indicated inside the new box by blue dividers.

Biographical/Historical note:

The Scurlock photographic studio was a fixture in the Shaw area of Washington, DC. from 1911 to 1994, and encompassed two generations of photographers, Addison N. Scurlock (1883-1964) and his sons George H. (1920- 2005) and Robert S. (1916-1994). More...

Forms Part Of:

Subseries 4.1 forms part of Series 4, within the Scurlock Studio Records group.

Scurlock Studio Records

Series 1: Black and White Photographs

Series 2: Color Photographs

Series 3: Framed Prints

Series 4: Black-and-White Silver Gelatin Negatives

Series 5: Color Negatives

Series 6: Color Transparencies, Slides, and Other Formats

Series 7: Black-and-White Color Separation Negatives and Matrices

Series 8: Scurlock Studio Business Records

Series 9: Custom Craft Business Records

Series 10: Capitol School of Photography

Series 11: Washington Stock

Series 12: Background Materials and Publications

Restrictions:

Collection is open for research.

Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.

Rights:

When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

African Americans -- History -- 20th century  Search this

Commercial photography -- 20th century -- Washington (D.C)  Search this

Segregation  Search this

Photography -- 20th century -- Washington (D.C.)  Search this

Portraits -- 20th century  Search this

Politicians -- 20th century  Search this

African American photographers  Search this

African American entertainers -- 20th century  Search this

Genre/Form:

Photographs -- 20th century

Matrices, color separation

Dye transfer process

Studio portraits

Color separation negatives

Citation:

Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution

Sponsor:

The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.

Identifier:

NMAH.AC.0618.S04.01

See more items in:

Scurlock Studio Records, Subseries 4.1: Black-and-White Silver Gelatin Negatives

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8ec458f4e-274d-4d12-859d-aaea7f7fc0ed

EDAN-URL:

ead_collection:sova-nmah-ac-0618-s04-01

Creator:

Scurlock, Robert S. (Saunders), 1917-1994  Search this

Custom Craft  Search this

Scurlock, Addison N., 1883-1964  Search this

Scurlock, George H. (Hardison), 1919-2005  Search this

Scurlock Studio (Washington, D.C.)  Search this

Names:

Howard University -- 20th century  Search this

DuBois, W.E.B. (William Edward Burghardt), 1868-1963  Search this

Washington, Booker T., 1856-1915  Search this

Extent:

87 Boxes

The subseries consists of black and white silver gelatin negatives.

Note:

Cold Storage

Type:

Collection descriptions

Archival materials

Color separation negatives

Matrices, color separation

Studio portraits

Dye transfer process

Photographs

Place:

Washington (D.C.) -- African Americans

Washington (D.C.) -- Small business -- 20th century

Shaw (Washington, D.C.)

Date:

1929-1989

Summary:

The Scurlock photographic studio was a fixture in the Shaw area of Washington, D.C. from 1911 to 1994, and encompassed two generations of photographers, Addison N. Scurlock (1883-1964) and his sons George H. (1920- 2005) and Robert S. (1916-1994). Subseries 4.6 consists of black and white silver gelatin negatives. An overview to the entire Scurlock collection is available here: Scurlock Studio Records

Scope and Contents note:

The negatives document the orders of the clients of the Scurlock Studio. The majority of the negatives are of portrait sittings but there are also negatives depicting children, couples, and groups.

Arrangement note:

The arrangement of the negatives is unclear; the arrangement will be in alphabetical order before it will start completely over again.

Biographical/Historical note:

The Scurlock photographic studio was a fixture in the Shaw area of Washington, D.C. from 1911 to 1994, and encompassed two generations of photographers, Addison N. Scurlock (1883-1964) and his sons George H. (1920- 2005) and Robert S. (1916-1994). More...

Forms Part Of:

Subseries 4.6 forms part of Series 4, within the Scurlock Studio Records group.

Scurlock Studio Records

Series 1: Black and White Photographs

Series 2: Color Photographs

Series 3: Framed Prints

Series 4: Black-and-White Silver Gelatin Negatives

Series 5: Color Negatives

Series 6: Color Transparencies, Slides, and Other Formats

Series 7: Black-and-White Color Separation Negatives and Matrices

Series 8: Scurlock Studio Business Records

Series 9: Custom Craft Business Records

Series 10: Capitol School of Photography

Series 11: Washington Stock

Series 12: Background Materials and Publications

Restrictions:

Collection is open for research.

Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.

Rights:

When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

Segregation  Search this

Portraits -- 20th century  Search this

Photography -- 20th century -- Washington (D.C.)  Search this

Politicians -- 20th century  Search this

Commercial photography -- 20th century -- Washington (D.C)  Search this

African Americans -- History -- 20th century  Search this

African American entertainers -- 20th century  Search this

African American photographers  Search this

Genre/Form:

Color separation negatives

Matrices, color separation

Studio portraits

Dye transfer process

Photographs -- 20th century

Citation:

Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution

Sponsor:

The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.

Identifier:

NMAH.AC.0618.S04.06

See more items in:

Scurlock Studio Records, Subseries 4.6: Black and white negatives in cold storage arranged by client

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep82ef0d27d-e9d8-46f8-a5ae-3ee02dc06dbf

EDAN-URL:

ead_collection:sova-nmah-ac-0618-s04-06

Creator:

Scurlock, Robert S. (Saunders), 1917-1994  Search this

Scurlock, Addison N., 1883-1964  Search this

Custom Craft  Search this

Scurlock Studio (Washington, D.C.)  Search this

Scurlock, George H. (Hardison), 1919-2005  Search this

Names:

Howard University -- 20th century  Search this

DuBois, W.E.B. (William Edward Burghardt), 1868-1963  Search this

Washington, Booker T., 1856-1915  Search this

Extent:

106 Boxes

Type:

Collection descriptions

Archival materials

Matrices, color separation

Photographs

Dye transfer process

Color separation negatives

Studio portraits

Place:

Shaw (Washington, D.C.)

Washington (D.C.) -- Small business -- 20th century

Washington (D.C.) -- African Americans

Date:

1888-1993

Summary:

The Scurlock photographic studio was a fixture in the Shaw area of Washington, DC from 1911 to 1994, and encompassed two generations of photographers, Addison N. Scurlock (1883-1964) and his sons George H. (1920- 2005) and Robert S. (1916-1994). Series 1 primarily consists of black and white photographs, but also includes job envelopes, order forms, correspondence, notes, and other photographic materials such as negatives. An overview to the entire Scurlock collection is available here: Scurlock Studio Records.

Scope and Contents note:

Materials are almost entirely black and white photographs, but also include job envelopes, order forms, correspondence, notes, and other photographic material types that were included in the overall order. In addition, not all photographs in this series were taken by the Scurlock Studio; there are photographs by Abdon Daoud Ackad and other studios or photographers that were sent in to make copies. The series is arranged into two subseries: Subseries 1.1: Clients, and Subseries 1.2: Subjects.

Arrangement note:

Arranged in 2 subseries.

1.1: Clients Black and white photographs

1.2: Subjects Black and white photographs

Biographical/Historical note:

The Scurlock photographic studio was a fixture in the Shaw area of Washington, DC. from 1911 to 1994, and encompassed two generations of photographers, Addison N. Scurlock (1883-1964) and his sons George H. (1920- 2005) and Robert S. (1916-1994). More...

Forms Part Of:

This series forms part of the Scurlock Studio Records group.

Scurlock Studio Records

Series 1: Black and White Photographs

Series 2: Color Photographs

Series 3: Framed Prints

Series 4: Black-and-White Silver Gelatin Negatives

Series 5: Color Negatives

Series 6: Color Transparencies, Slides, and Other Formats

Series 7: Black-and-White Color Separation Negatives and Matrices

Series 8: Scurlock Studio Business Records

Series 9: Custom Craft Business Records

Series 10: Capitol School of Photography

Series 11: Washington Stock

Series 12: Background Materials and Publications

Restrictions:

Collection is open for research.

Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.

Rights:

When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

Politicians -- 20th century  Search this

Portraits -- 20th century  Search this

Commercial photography -- 20th century -- Washington (D.C)  Search this

Photography -- 20th century -- Washington (D.C.)  Search this

Segregation  Search this

African American photographers  Search this

African American entertainers -- 20th century  Search this

African Americans -- History -- 20th century  Search this

Genre/Form:

Matrices, color separation

Photographs -- 20th century

Dye transfer process

Color separation negatives

Studio portraits

Citation:

Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution

Sponsor:

The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.

Identifier:

NMAH.AC.0618.S01

See more items in:

Scurlock Studio Records, Series 1: Black and White Photographs

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8016336ae-23ec-4512-a76c-c1faa872aae0

EDAN-URL:

ead_collection:sova-nmah-ac-0618-s01

Creator:

Scurlock, Robert S. (Saunders), 1917-1994  Search this

Custom Craft  Search this

Scurlock, Addison N., 1883-1964  Search this

Scurlock Studio (Washington, D.C.)  Search this

Scurlock, George H. (Hardison), 1919-2005  Search this

Names:

Howard University -- 20th century  Search this

DuBois, W.E.B. (William Edward Burghardt), 1868-1963  Search this

Washington, Booker T., 1856-1915  Search this

Extent:

15 Boxes

The materials in the subseries consists of black and white silver gelatin negatives.

Type:

Collection descriptions

Archival materials

Matrices, color separation

Color separation negatives

Photographs

Studio portraits

Dye transfer process

Place:

Washington (D.C.) -- African Americans

Shaw (Washington, D.C.)

Washington (D.C.) -- Small business -- 20th century

Date:

1923-1940

Summary:

The Scurlock photographic studio was a fixture in the Shaw area of Washington, D.C. from 1911 to 1994, and encompassed two generations of photographers, Addison N. Scurlock (1883-1964) and his sons George H. (1920- 2005) and Robert S. (1916-1994). Subseries 4.12 materials primarily document clients of the Scurlock Studio that were organizations and the images depict those groups' and organizations' activities. An overview to the entire Scurlock collection is available here: Scurlock Studio Records

Scope and Contents note:

The materials primarily document clients of the Scurlock Studio that were organizations and the images depict those groups' and organizations' activities.

Arrangement note:

There is not a clear system of arrangement within the subseries.

Biographical/Historical note:

The Scurlock photographic studio was a fixture in the Shaw area of Washington, D.C. from 1911 to 1994, and encompassed two generations of photographers, Addison N. Scurlock (1883-1964) and his sons George H. (1920- 2005) and Robert S. (1916-1994). More...

Forms Part Of:

Subseries 4.12 forms part of Series 4, within the Scurlock Studio Records group.

Scurlock Studio Records

Series 1: Black and White Photographs

Series 2: Color Photographs

Series 3: Framed Prints

Series 4: Black-and-White Silver Gelatin Negatives

Series 5: Color Negatives

Series 6: Color Transparencies, Slides, and Other Formats

Series 7: Black-and-White Color Separation Negatives and Matrices

Series 8: Scurlock Studio Business Records

Series 9: Custom Craft Business Records

Series 10: Capitol School of Photography

Series 11: Washington Stock

Series 12: Background Materials and Publications

Restrictions:

Collection is open for research.

Series 8: Business Records, Subseries 8.1: Studio Session Registers are restricted. Digital copies available for research. See repository for details.

Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.

Rights:

When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

African American entertainers -- 20th century  Search this

African Americans -- History -- 20th century  Search this

African American photographers  Search this

Commercial photography -- 20th century -- Washington (D.C)  Search this

Photography -- 20th century -- Washington (D.C.)  Search this

Segregation  Search this

Politicians -- 20th century  Search this

Portraits -- 20th century  Search this

Genre/Form:

Matrices, color separation

Color separation negatives

Photographs -- 20th century

Studio portraits

Dye transfer process

Citation:

Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution

Sponsor:

The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.

Identifier:

NMAH.AC.0618.S04.12

See more items in:

Scurlock Studio Records, Subseries 4.12: Banquet Negatives

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep84f8e7a2b-c123-4c06-a220-467ee787240e

EDAN-URL:

ead_collection:sova-nmah-ac-0618-s04-12

Creator:

Scurlock, George H. (Hardison), 1919-2005  Search this

Custom Craft  Search this

Scurlock, Addison N., 1883-1964  Search this

Scurlock, Robert S. (Saunders), 1917-1994  Search this

Scurlock Studio (Washington, D.C.)  Search this

Names:

Howard University -- 20th century  Search this

DuBois, W.E.B. (William Edward Burghardt), 1868-1963  Search this

Washington, Booker T., 1856-1915  Search this

Extent:

25 Boxes

The subseries contains black and silver gelatin negatives.

Note:

Cold Storage

Type:

Collection descriptions

Archival materials

Color separation negatives

Photographs

Studio portraits

Dye transfer process

Matrices, color separation

Place:

Washington (D.C.) -- Small business -- 20th century

Washington (D.C.) -- African Americans

Shaw (Washington, D.C.)

Date:

circa 1870-1989

Summary:

The Scurlock photographic studio was a fixture in the Shaw area of Washington, D.C. from 1911 to 1994, and encompassed two generations of photographers, Addison N. Scurlock (1883-1964) and his sons George H. (1920- 2005) and Robert S. (1916-1994). Subseries 4.8 consists of black and white silver gelatin negatives. An overview to the entire Scurlock collection is available here: Scurlock Studio Records

Scope and Contents note:

The materials document negatives that cannot be connected to a client or are the commercial ventures of the Scurlock Studio. the negatives depict a variety of subject matter including art, buildings, advertising/commercial, unidentified people, and Washington, D. C.

Arrangement note:

The negatives do not appear to be organized in a clear manner; the arrangement follows alphabetical order but the alphabet starts over several times.

Biographical/Historical note:

The Scurlock photographic studio was a fixture in the Shaw area of Washington, D.C. from 1911 to 1994, and encompassed two generations of photographers, Addison N. Scurlock (1883-1964) and his sons George H. (1920- 2005) and Robert S. (1916-1994). More...

Forms Part Of:

Subseries 4.8 forms part of Series 4, within the Scurlock Studio Records group.

Scurlock Studio Records

Series 1: Black and White Photographs

Series 2: Color Photographs

Series 3: Framed Prints

Series 4: Black-and-White Silver Gelatin Negatives

Series 5: Color Negatives

Series 6: Color Transparencies, Slides, and Other Formats

Series 7: Black-and-White Color Separation Negatives and Matrices

Series 8: Scurlock Studio Business Records

Series 9: Custom Craft Business Records

Series 10: Capitol School of Photography

Series 11: Washington Stock

Series 12: Background Materials and Publications

Restrictions:

Collection is open for research.

Series 8: Business Records, Subseries 8.1: Studio Session Registers are restricted. Digital copies available for research. See repository for details.

Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.

Rights:

When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

Commercial photography -- 20th century -- Washington (D.C)  Search this

African American photographers  Search this

African Americans -- History -- 20th century  Search this

African American entertainers -- 20th century  Search this

Segregation  Search this

Portraits -- 20th century  Search this

Politicians -- 20th century  Search this

Photography -- 20th century -- Washington (D.C.)  Search this

Genre/Form:

Color separation negatives

Photographs -- 20th century

Studio portraits

Dye transfer process

Matrices, color separation

Citation:

Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution

Sponsor:

The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.

Identifier:

NMAH.AC.0618.S04.08

See more items in:

Scurlock Studio Records, Subseries 4.8: Negatives in cold storage arranged by subject

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8216cfc11-caf4-442a-95df-e45fae7a3ce8

EDAN-URL:

ead_collection:sova-nmah-ac-0618-s04-08

Creator:

Scurlock Studio (Washington, D.C.)  Search this

Scurlock, George H. (Hardison), 1919-2005  Search this

Custom Craft  Search this

Scurlock, Robert S. (Saunders), 1917-1994  Search this

Scurlock, Addison N., 1883-1964  Search this

Names:

Howard University -- 20th century  Search this

DuBois, W.E.B. (William Edward Burghardt), 1868-1963  Search this

Washington, Booker T., 1856-1915  Search this

Extent:

320 Boxes

The material type of the series is black and white silver gelatin negatives.

Type:

Collection descriptions

Archival materials

Photographs

Dye transfer process

Color separation negatives

Matrices, color separation

Studio portraits

Place:

Washington (D.C.) -- Small business -- 20th century

Washington (D.C.) -- African Americans

Shaw (Washington, D.C.)

Date:

1900-1994

Summary:

The Scurlock photographic studio was a fixture in the Shaw area of Washington, DC. from 1911 to 1994, and encompassed two generations of photographers, Addison N. Scurlock (1883-1964) and his sons George H. (1920- 2005) and Robert S. (1916-1994). Series 4 materials document the clients and individuals whose photographs were taken by the Scurlock Studio and a wide variety of subject matters. An overview to the entire Scurlock collection is available here: Scurlock Studio Records

Scope and Contents note:

The materials document the clients and individuals whose photographs were taken by the Scurlock Studio and a wide variety of subject matters. The subjects represented are individual portrait sittings, organizations, events, businesses, commercial ventures of the studio, and Washington, D. C.

Arrangement:

Arranged in 12 subseries.

4.1: Black-and-White negatives

4.2: Black and white negatives in freezers arranged by job number

4.3: Black and white negatives in freezer storage arranged by client

4.4: Black and white negatives in freezer storage arranged by subject

4.5: Black and white negatives in cold storage arranged by job number

4.6: Black and white negatives in cold storage arranged by client

4.7: Negatives in cold storage arranged by client with index cards

4.8: Negatives in cold storage arranged by subject

4.9: Black and white negatives for publication

4.10: Glass Plate Negatives

4.11: Customcraft Negatives

4.12: Banquet Negatives

Biographical/Historical note:

The Scurlock photographic studio was a fixture in the Shaw area of Washington, DC from 1911 to 1994, and encompassed two generations of photographers, Addison N. Scurlock (1883-1964) and his sons George H. (1920- 2005) and Robert S. (1916-1994). More...

Forms Part Of:

This series forms part of the Scurlock Studio Records group.

Scurlock Studio Records

Series 1: Black and White Photographs

Series 2: Color Photographs

Series 3: Framed Prints

Series 4: Black-and-White Silver Gelatin Negatives

Series 5: Color Negatives

Series 6: Color Transparencies, Slides, and Other Formats

Series 7: Black-and-White Color Separation Negatives and Matrices

Series 8: Scurlock Studio Business Records

Series 9: Custom Craft Business Records

Series 10: Capitol School of Photography

Series 11: Washington Stock

Series 12: Background Materials and Publications

Restrictions:

Collection is open for research.

Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.

Rights:

When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

African American entertainers -- 20th century  Search this

African American photographers  Search this

African Americans -- History -- 20th century  Search this

Commercial photography -- 20th century -- Washington (D.C)  Search this

Segregation  Search this

Photography -- 20th century -- Washington (D.C.)  Search this

Politicians -- 20th century  Search this

Portraits -- 20th century  Search this

Genre/Form:

Photographs -- 20th century

Dye transfer process

Color separation negatives

Matrices, color separation

Studio portraits

Citation:

Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution

Sponsor:

The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.

Identifier:

NMAH.AC.0618.S04

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8607c1270-9c2c-4109-a459-9b8eaaab35d1

EDAN-URL:

ead_collection:sova-nmah-ac-0618-s04

Creator:

Custom Craft  Search this

Scurlock Studio (Washington, D.C.)  Search this

Scurlock, Addison N., 1883-1964  Search this

Scurlock, George H. (Hardison), 1919-2005  Search this

Scurlock, Robert S. (Saunders), 1917-1994  Search this

Names:

Howard University. -- 20th century  Search this

DuBois, W.E.B. (William Edward Burghardt), 1868-1963  Search this

Washington, Booker T., 1856-1915  Search this

Extent:

320 Boxes

Note:

Cold Storage

Type:

Collection descriptions

Archival materials

Matrices, color separation

Photographs

Dye transfer process

Color separation negatives

Studio portraits

Place:

Washington (D.C.) -- Small business -- 20th century

Shaw (Washington, D.C.)

Washington (D.C.) -- African Americans

Date:

1928-1994

Scope and Contents:

The materials document the orders placed by the clients of the Scurlock Studio. The photographs primarily depict individual portrait sittings but there are also portraits of children, groups, and other subjects.

Arrangement note:

The negatives are arranged by job number.

Biographical/Historical note:

The Scurlock photographic studio was a fixture in the Shaw area of Washington, D.C. from 1911 to 1994, and encompassed two generations of photographers, Addison N. Scurlock (1883-1964) and his sons George H. (1920- 2005) and Robert S. (1916-1994). More...

Forms Part Of:

Subseries 4.5 forms part of Series 4, within the Scurlock Studio Records group.

Scurlock Studio Records

Series 1: Black and White Photographs

Series 2: Color Photographs

Series 3: Framed Prints

Series 4: Black-and-White Silver Gelatin Negatives

Series 5: Color Negatives

Series 6: Color Transparencies, Slides, and Other Formats

Series 7: Black-and-White Color Separation Negatives and Matrices

Series 8: Scurlock Studio Business Records

Series 9: Custom Craft Business Records

Series 10: Capitol School of Photography

Series 11: Washington Stock

Series 12: Background Materials and Publications

Restrictions:

Collection is open for research.

Series 8: Business Records, Subseries 8.1: Studio Session Registers are restricted. Digital copies available for research. See repository for details.

Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.

Rights:

When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

African American photographers  Search this

Politicians -- 20th century  Search this

Portraits -- 20th century  Search this

African Americans -- History -- 20th century  Search this

Photography -- 20th century -- Washington (D.C.)  Search this

African American entertainers -- 20th century  Search this

Commercial photography -- 20th century -- Washington (D.C)  Search this

Segregation  Search this

Genre/Form:

Matrices, color separation

Photographs -- 20th century

Dye transfer process

Color separation negatives

Studio portraits

Citation:

Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution

Sponsor:

The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.

Identifier:

NMAH.AC.0618.S04.05

See more items in:

Scurlock Studio Records, Subseries 4.5: Black and white negatives in cold storage arranged by job number

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8c0c764e4-3c14-483e-b091-7fb65c6649da

EDAN-URL:

ead_collection:sova-nmah-ac-0618-s04-05

Collection Creator:

Museum of the American Indian, Heye Foundation  Search this

Collection Director:

Heye, George G. (George Gustav), 1874-1957  Search this

Container:

Box 552, Folder 9

Type:

Archival materials

Date:

1987

Collection Restrictions:

Access to NMAI Archive Center collections is by appointment only, Monday - Friday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: nmaiarchives@si.edu).

Collection Rights:

Single photocopies may be made for research purposes. Permission to publish or broadcast materials from the collection must be requested from the National Museum of the American Indian Archive Center. Please submit a written request to nmaiarchives@si.edu.

Collection Citation:

Identification of specific item; Date (if known); Museum of the American Indian/Heye Foundation Records, Box and Folder Number; National Museum of the American Indian Archive Center, Smithsonian Institution.

See more items in:

Museum of the American Indian/Heye Foundation records

Museum of the American Indian/Heye Foundation records / Series 15: Other Departments / 15.6: Photography

Archival Repository:

National Museum of the American Indian

GUID:

https://n2t.net/ark:/65665/sv43006abfc-43a6-4f17-8804-b824ab0c8b82

EDAN-URL:

ead_component:sova-nmai-ac-001-ref15446

Creator:

Artists Talk on Art  Search this

Names:

Barnet, Will, 1911-2012  Search this

Bourgeois, Louise, 1911-2010  Search this

Christo, 1935-  Search this

De Niro, Robert, Sr., 1922-1993  Search this

Denes, Agnes  Search this

Goldberg, Michael, 1924-2007  Search this

Jeanne-Claude, 1935-2009  Search this

Longo, Robert  Search this

Mendieta, Ana, 1948-1985  Search this

Morris, Robert, 1931-2018  Search this

Murray, Elizabeth, 1940-  Search this

Neel, Alice, 1900-1984  Search this

Pavia, Philip, 1915-2005  Search this

Sleigh, Sylvia  Search this

Wilke, Hannah  Search this

Wojnarowicz, David  Search this

Extent:

64.4 Linear feet

317.43 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Photographs

Sound recordings

Scrapbooks

Transcripts

Video recordings

Date:

circa 1974-2018

Summary:

The records of Artists Talk on Art (ATOA) measure 64.4 linear feet and 317.43 gigabytes and date from circa 1974-2018. The bulk of the records consist of extensive video and sound recordings of events organized by the group featuring artists, critics, historians, dealers, curators and writers discussing contemporary issues in the American art world in hundreds of panel discussions, open screenings, and dialogues held in New York City. Events began in 1975 and continue to the present; recordings in the collection date from 1977 and 2016. A smaller group of records include administrative files, panel flyers, three scrapbooks, as well as photographs, slides, and negatives of panel discussions and participants.

Scope and Contents:

The records of Artists Talk on Art (ATOA) measure 64.4 linear feet and 317.43 gigabytes and date from circa 1974-2018. The bulk of the records consist of extensive video and sound recordings of events organized by the group featuring artists, critics, historians, dealers, curators and writers discussing contemporary issues in the American art world in hundreds of panel discussions, open screenings, and dialogues held in New York City. Events began in 1975 and continue to the present; recordings in the collection date from 1977 and 2016. A smaller group of records include administrative files, panel flyers, three scrapbooks, as well as photographs, slides, and negatives of panel discussions and participants.

ATOA's recordings chronicle the American art world, covering critical discussions and significant art world issues over five decades. Thousands of artists such as Will Barnet, Louise Bourgeois, Christo and Jeanne-Claude, Robert De Niro, Agnes Denes, Michael Goldberg, Robert Longo, Ana Mendieta, Robert Morris, Elizabeth Murray, Alice Neel, Philip Pavia, Howardena Pindell, Larry Rivers, Sylvia Sleigh, Kahinde Wiley, Hannah Wilke, David Wojnarowicz, and others speak about their work. The original recordings exist in a variety of formats, including U-Matic and VHS videotape, MiniDVs, sound cassettes and sound tape reels. ATOA digitized most of the video and sound recordings prior to donating the collection.

The collection also includes printed histories, board and program committee meeting minutes, financial statements, general correspondence files of the president and chair, attendance statistics, grant files, panel participant release forms, sixteen panel transcripts, a complete set of panel flyers (many are annotated) and other printed materials, three dismantled scrapbooks, as well as photographs, slides, and negatives of panels and panel participants.

Arrangement:

The records are arranged into nine series.

Series 1: Adminstrative Files, 1974-2013 (0.4 linear feet, Box 1)

Series 2: Director's and Chairman's Correspondence, 1977-2006 (0.4 linear feet, Box 1)

Series 3: Grant Files, 1977-2009 (1 linear foot, Boxes 1-2)

Series 4: Panel Release Forms, 1978-2012 (1 linear foot, Boxes 2-3)

Series 5: Panel Transcripts, 1981, 1986, 1988, 2017-2018 (1 folder, Box 3; 0.002 GB, ER01)

Series 6: Printed Materials, 1975-2015 (0.8 linear feet, Boxes 3-4; 0.434 GB, ER02)

Series 7: Scrapbooks, 1975-1989 (0.2 linear feet, Box 4)

Series 8: Photographic Materials, circa 1975-circa 2000 (1 linear foot, Boxes 4-5)

Series 9: Video and Sound Recordings of Events, 1977-2016 (59 linear feet, Boxes 6-65; 317.43 GB, ER03-ER04)

Biographical / Historical:

Established in 1974 and still active in New York, Artists Talk on Art is the art world's longest running and most prolific aesthetic panel discussion series organized by artists for artists. Founded by Lori Antonacci, Douglas I. Sheer, and Robert Wiegand, the forum has presented 6,000 artists in nearly 1,000 documented panels or dialogues. ATOA held its first panel, "Whatever Happened to Public Art," on January 10, 1975 and it drew a "crowd" of 77 people. In the decades that followed, ATOA presented dozens of panels or dialogues a year, tackling such diverse topics as "What is Happening with Conceptual Art," with Louise Lawler and Lawrence Weiner; "Painting and Photography: Defining the Difference," with Sarah Charlesworth, Jack Goldstein, Joseph Kosuth, Barbara Kruger, and Robert Mapplethorpe; "Organizing Arts Activism," with Lucy Lippard; "The Artist and the Epidemic—an information panel about AIDS"; "Cross-generational Views of Feminism"; and hundreds more.

Provenance:

The Artists Talk on Art (ATOA) records, including digital files of the video and sound recordings, were donated to the Archives in 2016 by Douglas Sheer, Chairman of ATOA.

Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Art critics  Search this

Art dealers  Search this

Art historians  Search this

Artists  Search this

Topic:

Art, American  Search this

Historians  Search this

Genre/Form:

Photographs

Sound recordings

Scrapbooks

Transcripts

Video recordings

Citation:

Artists Talk on Art records, circa 1974-2018. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.artitalk

See more items in:

Artists Talk on Art records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9c4de66ef-397b-4e6e-9fde-d6deca12fa3a

EDAN-URL:

ead_collection:sova-aaa-artitalk

Creator:

Custom Craft  Search this

Scurlock, George H. (Hardison), 1919-2005  Search this

Scurlock Studio (Washington, D.C.)  Search this

Scurlock, Robert S. (Saunders), 1917-1994  Search this

Scurlock, Addison N., 1883-1964  Search this

Names:

Howard University -- 20th century  Search this

DuBois, W.E.B. (William Edward Burghardt), 1868-1963  Search this

Washington, Booker T., 1856-1915  Search this

Extent:

41 Boxes

Type:

Collection descriptions

Archival materials

Matrices, color separation

Photographs

Dye transfer process

Color separation negatives

Studio portraits

Place:

Washington (D.C.) -- Small business -- 20th century

Shaw (Washington, D.C.)

Washington (D.C.) -- African Americans

Date:

1922-1994, undated

Summary:

The Scurlock photographic studio was a fixture in the Shaw area of Washington, DC from 1911 to 1994, and encompassed two generations of photographers, Addison N. Scurlock (1883-1964) and his sons George H. (1920- 2005) and Robert S. (1916-1994). Series 6 primarily consists of photographic materials including color transparencies, slides, film, and proofs but occasionally includes notes, forms, and envelopes associated with the orders. An oveview to the entire Scurlock collection is available here: Scurlock Studio Records

Scope and Contents note:

Consists of photographic materials and in some cases notes, forms, and envelopes from orders placed at the studio. Photographic images document formal portraits of individuals, couples, families, and groups but the largest group of materials represented are from events; places from the USA., high concentration from Washington, DC.; and places around the world. The materials are arranged into four subseries: Subseries 6.1: Transparencies, Subseries 6.2: Slides, Subseries 6.3: Film, and Subseries 6.4: Proofs.

Arrangement note:

Arranged in 4 subseries.

6.1: Transparencies

6.2: Slides

6.3: Film

6.4: Proofs

Biographical/Historical note:

The Scurlock photographic studio was a fixture in the Shaw area of Washington, DC. from 1911 to 1994, and encompassed two generations of photographers, Addison N. Scurlock (1883-1964) and his sons George H. (1920- 2005) and Robert S. (1916-1994). More...

Forms Part Of:

This series forms part of the Scurlock Studio Records group.

Scurlock Studio Records

Series 1: Black and White Photographs

Series 2: Color Photographs

Series 3: Framed Prints

Series 4: Black-and-White Silver Gelatin Negatives

Series 5: Color Negatives

Series 6: Color Transparencies, Slides, and Other Formats

Series 7: Black-and-White Color Separation Negatives and Matrices

Series 8: Scurlock Studio Business Records

Series 9: Custom Craft Business Records

Series 10: Capitol School of Photography

Series 11: Washington Stock

Series 12: Background Materials and Publications

Restrictions:

Collection is open for research.

Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.

Rights:

When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

Politicians -- 20th century  Search this

Photography -- 20th century -- Washington (D.C.)  Search this

Segregation  Search this

Portraits -- 20th century  Search this

African Americans -- History -- 20th century  Search this

Commercial photography -- 20th century -- Washington (D.C)  Search this

African American entertainers -- 20th century  Search this

African American photographers  Search this

Genre/Form:

Matrices, color separation

Photographs -- 20th century

Dye transfer process

Color separation negatives

Studio portraits

Citation:

Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution

Sponsor:

The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.

Identifier:

NMAH.AC.0618.S06

See more items in:

Scurlock Studio Records, Series 6: Color Transparencies, Slides, and Other Formats

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep853a4ba6a-0d2e-4c0d-a44a-954cbba1b7f4

EDAN-URL:

ead_collection:sova-nmah-ac-0618-s06

Creator:

Bourne, Samuel, 1834-1912  Search this

Extent:

1 Print (albumen, image 23 x 29 cm., mounted 31 x 40 cm.)

Container:

Box 2

Type:

Collection descriptions

Archival materials

Prints

Prints

Photographs

Albumen prints

Place:

India

Sanawar

Date:

circa 1860s

Scope and Contents:

One albumen print of the Sanawar Church and girl's school, from the road, circa 1860s. View from angle with a few Indian women to the right. Signed "Bourne 1135" in the lower left corner of the image.

Arrangement:

One folder in one flat box.

Biographical / Historical:

Samuel Bourne (1834-1912) had already begun to earn recognition for his work in England, having exhibited at the London International Exhibition of 1862, when he decided to give up his position in a bank and depart for India to work as a professional photographer. He arrived in Calcutta early in 1863, initially setting up a partnership with William Howard. They moved up to Simla, where they established a new studio Howard & Bourne, to be joined in 1864 by Charles Shepherd, to form Howard, Bourne & Shepherd. By 1866, after the departure of Howard, it became Bourne & Shepherd, the name under which the firm continues to operate to this day. Although Bourne only spent 6 years in India, his time there was extremely productive. He undertook three major expeditions in the Himalayas, creating an impressive body of work which combined the highest technical quality and a keen artistic eye, while working under difficult physical conditions. Bourne left India for good in 1870, selling his interest in Bourne & Shepherd shortly thereafter and abandoning commercial photography.

This photograph depicts a Sanawar Church and girl's school, from the road.

Local Numbers:

FSA A1999.22

Restrictions:

Collection is open for research.

Rights:

Permission to publish, quote, or reproduce must be secured from the repository.

Genre/Form:

Photographs

Albumen prints -- 1860-1880

Citation:

Still Prints of Asia: Sanawar Church and girl's school, from the road, FSA A1999.22. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C.

Identifier:

FSA.A1999.22

Archival Repository:

Freer Gallery of Art and Arthur M. Sackler Gallery Archives

GUID:

https://n2t.net/ark:/65665/dc3347f0ce7-c964-46d1-a40f-fefcc0ee3151

EDAN-URL:

ead_collection:sova-fsa-a1999-22

Creator:

Bourne, Samuel, 1834-1912  Search this

Names:

Ghiyas Beg, Mirza, d. 1627  Search this

Extent:

1 Print (albumen, image 23 x 29 cm., mounted 31 x 40 cm.)

Container:

Box 1

Type:

Collection descriptions

Archival materials

Microform

Prints

Photographs

Albumen prints

Place:

Agra (India)

India -- Uttar Pradesh -- Agra

Date:

circa 1860s

Scope and Contents:

One albumen print of the mausoleum of Prince Etmad-Dowlach (Agra, India), circa 1860s. View from an angle with two Indian men in the center of the photograph. Signed "Bourne 1233" in the lower left corner of the image.

Arrangement:

One folder in one flat box.

Biographical / Historical:

Samuel Bourne (1834-1912) had already begun to earn recognition for his work in England, having exhibited at the London International Exhibition of 1862, when he decided to give up his position in a bank and depart for India to work as a professional photographer. He arrived in Calcutta early in 1863, initially setting up a partnership with William Howard. They moved up to Simla, where they established a new studio Howard & Bourne, to be joined in 1864 by Charles Shepherd, to form Howard, Bourne & Shepherd. By 1866, after the departure of Howard, it became Bourne & Shepherd, the name under which the firm continues to operate to this day. Although Bourne only spent 6 years in India, his time there was extremely productive. He undertook three major expeditions in the Himalayas, creating an impressive body of work which combined the highest technical quality and a keen artistic eye, while working under difficult physical conditions. Bourne left India for good in 1870, selling his interest in Bourne & Shepherd shortly thereafter and abandoning commercial photography.

This photograph depicts the tomb of Mirza Ghiyas Beg, located in Agra, India. An important official of the Mughal empire. Ghiyas Beg served as the chief treasurer during the rule of Emperor Jahangir, and was given the title I'timād-ud-Daulah (i.e. Etmad-Dowlach), or Pillar of the State. The tomb, which is considered an architectural predecessor of the Taj Mahal, was commissioned by Nur Jahan, Ghiyas Beg's daughter and the wife of Jahangir.

Local Numbers:

FSA A1998.08

Restrictions:

Collection is open for research.

Rights:

Permission to publish, quote, or reproduce must be secured from the repository.

Topic:

Mausoleums -- India  Search this

Genre/Form:

Photographs

Albumen prints -- 1860-1880

Citation:

Samuel Bourne Photograph: Mausoleum of Prince Etmad-Dowlach, Agra, FSA A1998.08. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C.

Identifier:

FSA.A1998.08

Archival Repository:

Freer Gallery of Art and Arthur M. Sackler Gallery Archives

GUID:

https://n2t.net/ark:/65665/dc3971bb478-2425-4cf8-8299-88fa7a1c9a8c

EDAN-URL:

ead_collection:sova-fsa-a1998-08

Creator:

Sevruguin, Antoin, 1851-1933  Search this

Names:

Islamic Archives  Search this

Sevruguin, Antoin, 1851-1933  Search this

Smith, Myron Bement, 1897-1970  Search this

Collection Creator:

Smith, Myron Bement, 1897-1970  Search this

Extent:

1 Glass negative (b&w, 17.8 cm. x 23.8 cm.)

Type:

Archival materials

Glass negatives

Place:

Asia

Iran

Tabrīz (Iran)

Date:

1880-1930

Scope and Contents:

"The remaining structure shown in the image is commonly known as the blue mosque but it has been part of a grand structure called Muzaffariya that included a tomb, library and khanqah. The name of the mosque (Qabud, meaning cobalt blue) derives from the extensive and elaborate tile work in the mosque, remnants of which is still visible on the remaining walls and portal of the structure. the image depicts the main portal of the structure with people standing at its foot and the opening of its back wall. A similar photo of the same structure and approximately of the same time, with siimilarly large group of people in front of the entrance iwan in present in the Gulistan Palace Museum archive." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]

- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "Most probably a copy print. On the lower left edge of the negative there is a small rectangle of lighter area that has very faint traces of a text line running through it."

- Handwritten number (inked, probably by Antoin Sevruguin) reads, "507."

- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1039."

- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "89) Blue Mosque (Masjidi Nabud) Tabriz." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]

- Myron Bement Smith handwritten caption in English reads, "47.P; Box 46.19: Adharbaijan. Tabriz. Masjid-i Kabud, entrance (#89)." [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 not included into any of the original boxes.

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.46.19

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.

Topic:

Architecture  Search this

Inscriptions  Search this

Inscriptions, Arabic  Search this

Religious buildings  Search this

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.

Identifier:

FSA.A.04, Item FSA A.4 2.12.GN.46.19

See more items in:

Myron Bement Smith Collection

Myron Bement Smith Collection / Series 2: The Islamic Archives / 2.12: Antoin Sevruguin Photographs / 2.12.01: Glass Plate Negatives / Glass Plate Negatives: Sets 1-61

Archival Repository:

Freer Gallery of Art and Arthur M. Sackler Gallery Archives

GUID:

https://n2t.net/ark:/65665/dc3262aabe7-ef46-4496-8227-99205bd6b0ef

EDAN-URL:

ead_component:sova-fsa-a-04-ref10441

Creator:

Sevruguin, Antoin, 1851-1933  Search this

Names:

Islamic Archives  Search this

Sevruguin, Antoin, 1851-1933  Search this

Smith, Myron Bement, 1897-1970  Search this

Collection Creator:

Smith, Myron Bement, 1897-1970  Search this

Extent:

1 Glass negative (b&w, 23.8 cm. x 17.7 cm.)

Type:

Archival materials

Glass negatives

Place:

Asia

Iran

Date:

1880-1930

Scope and Contents:

- Handwritten number (inked, probably by Antoin Sevruguin) reads, "629."

- Handwritten number (inked, probably by Antoin Sevruguin) reads, "1?48."

- Myron Bement Smith handwritten caption in English reads, "47.P; Box 47.1: View of a city." [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 47."

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.47.01

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.

Topic:

Architecture  Search this

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.

Identifier:

FSA.A.04, Item FSA A.4 2.12.GN.47.01

See more items in:

Myron Bement Smith Collection

Myron Bement Smith Collection / Series 2: The Islamic Archives / 2.12: Antoin Sevruguin Photographs / 2.12.01: Glass Plate Negatives / Glass Plate Negatives: Sets 1-61

Archival Repository:

Freer Gallery of Art and Arthur M. Sackler Gallery Archives

GUID:

https://n2t.net/ark:/65665/dc349a67510-ca6b-433f-814d-0cb3a7907f82

EDAN-URL:

ead_component:sova-fsa-a-04-ref10442

Creator:

Sevruguin, Antoin, 1851-1933  Search this

Names:

Islamic Archives  Search this

Sevruguin, Antoin, 1851-1933  Search this

Smith, Myron Bement, 1897-1970  Search this

Collection Creator:

Smith, Myron Bement, 1897-1970  Search this

Extent:

1 Glass negative (b&w, 23.8 cm. x 17.7 cm.)

Type:

Archival materials

Glass negatives

Place:

Asia

Iran

Date:

1880-1930

Scope and Contents:

"The monument dates back to mid 14th century. It is built on the burial site of Arghun's daughter. Arghun was the pre-Ilkhanid, Mongol ruler of Iran in the mid 13th century. The structure was destroyed during the earthquake of 1931." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]

- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "Thick glass. Multiple red dots on the imperfections of the sky."

- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1268."

- Myron Bement Smith handwritten caption in English reads, "47.P; Box 47.2: (P) [black-and-white print on hand]. Azerbaijan. Salmas. Tomb of the daughter of Arghun." [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 47."

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.47.02

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.

Topic:

Architecture  Search this

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.

Identifier:

FSA.A.04, Item FSA A.4 2.12.GN.47.02

See more items in:

Myron Bement Smith Collection

Myron Bement Smith Collection / Series 2: The Islamic Archives / 2.12: Antoin Sevruguin Photographs / 2.12.01: Glass Plate Negatives / Glass Plate Negatives: Sets 1-61

Archival Repository:

Freer Gallery of Art and Arthur M. Sackler Gallery Archives

GUID:

https://n2t.net/ark:/65665/dc33bb204f8-db7a-47e3-a903-966342485fa4

EDAN-URL:

ead_component:sova-fsa-a-04-ref10443

Creator:

Sevruguin, Antoin, 1851-1933  Search this

Names:

Islamic Archives  Search this

Sevruguin, Antoin, 1851-1933  Search this

Smith, Myron Bement, 1897-1970  Search this

Collection Creator:

Smith, Myron Bement, 1897-1970  Search this

Extent:

1 Glass negative (b&w, 23.9 cm. x 17.8 cm.)

Type:

Archival materials

Glass negatives

Place:

Asia

Iran

Naqsh-i Rustam (Iran)

Date:

1902-1905

Scope and Contents:

- Handwritten number (inked, probably by Antoin Sevruguin) reads, "596."

- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1649."

- Myron Bement Smith handwritten caption in English reads, "47.P; Box 37.3: (P) [black-and-white print on hand]. Fars; Naksh-i Rustam. Carving." [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 47."

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.47.03

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.

Topic:

Ancient Near Eastern Art  Search this

Relief (Sculpture)  Search this

Royalty (Nobility)  Search this

Sassanids  Search this

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.

Identifier:

FSA.A.04, Item FSA A.4 2.12.GN.47.03

See more items in:

Myron Bement Smith Collection

Myron Bement Smith Collection / Series 2: The Islamic Archives / 2.12: Antoin Sevruguin Photographs / 2.12.01: Glass Plate Negatives / Glass Plate Negatives: Sets 1-61

Archival Repository:

Freer Gallery of Art and Arthur M. Sackler Gallery Archives

GUID:

https://n2t.net/ark:/65665/dc34bc61f99-3d1e-4e56-bb00-110c24899be1

EDAN-URL:

ead_component:sova-fsa-a-04-ref10444

Creator:

Sevruguin, Antoin, 1851-1933  Search this

Names:

Islamic Archives  Search this

Sevruguin, Antoin, 1851-1933  Search this

Smith, Myron Bement, 1897-1970  Search this

Collection Creator:

Smith, Myron Bement, 1897-1970  Search this

Extent:

1 Glass negative (b&w, 17.8 cm. x 23.8 cm.)

Type:

Archival materials

Glass negatives

Place:

Asia

Iran

Taq-e Bostan Site (Iran)

Date:

1880-1930

Scope and Contents:

- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "Most probably a copy print."

- Handwritten number (inked, probably by Antoin Sevruguin) reads, "814."

- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "---(?)."

- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "196-197) Taq i Bostan." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]

- Myron Bement Smith handwritten caption in English reads, "47.P; Box 47.4: Kirmanshah. Tak-I Bustan. Arch + carving (196-197)." [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 47."

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.47.04

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.

Topic:

Ancient Near Eastern Art  Search this

Architecture  Search this

Relief (Sculpture)  Search this

Sassanids  Search this

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.

Identifier:

FSA.A.04, Item FSA A.4 2.12.GN.47.04

See more items in:

Myron Bement Smith Collection

Myron Bement Smith Collection / Series 2: The Islamic Archives / 2.12: Antoin Sevruguin Photographs / 2.12.01: Glass Plate Negatives / Glass Plate Negatives: Sets 1-61

Archival Repository:

Freer Gallery of Art and Arthur M. Sackler Gallery Archives

GUID:

https://n2t.net/ark:/65665/dc370b38ec1-350f-49ca-9be3-64e6774cb6cd

EDAN-URL:

ead_component:sova-fsa-a-04-ref10445

Creator:

Sevruguin, Antoin, 1851-1933  Search this

Names:

Islamic Archives  Search this

Sevruguin, Antoin, 1851-1933  Search this

Smith, Myron Bement, 1897-1970  Search this

Collection Creator:

Smith, Myron Bement, 1897-1970  Search this

Extent:

1 Glass negative (b&w, 23.7 cm. x 17.6 cm.)

Type:

Archival materials

Glass negatives

Place:

Asia

Iran

Taq-e Bostan Site (Iran)

Date:

1880-1930

Scope and Contents:

- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "Very yellowish color all over."

- Handwritten number (inked, probably by Antoin Sevruguin) reads, "524."

- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "---(?)."

- Myron Bement Smith handwritten caption in English reads, "47.P; Box 47.5: Fars. Naksh-i Rustam. Carving. (yellowing + peeling)." [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 47."

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.47.05

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.

Topic:

Ancient Near Eastern Art  Search this

Animals in art  Search this

Architecture  Search this

Relief (Sculpture)  Search this

Royalty (Nobility)  Search this

Sassanids  Search this

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.

Identifier:

FSA.A.04, Item FSA A.4 2.12.GN.47.05

See more items in:

Myron Bement Smith Collection

Myron Bement Smith Collection / Series 2: The Islamic Archives / 2.12: Antoin Sevruguin Photographs / 2.12.01: Glass Plate Negatives / Glass Plate Negatives: Sets 1-61

Archival Repository:

Freer Gallery of Art and Arthur M. Sackler Gallery Archives

GUID:

https://n2t.net/ark:/65665/dc3467cf085-a699-404e-91b3-c030b0969723

EDAN-URL:

ead_component:sova-fsa-a-04-ref10446

Creator:

Sevruguin, Antoin, 1851-1933  Search this

Names:

Islamic Archives  Search this

Sevruguin, Antoin, 1851-1933  Search this

Smith, Myron Bement, 1897-1970  Search this

Collection Creator:

Smith, Myron Bement, 1897-1970  Search this

Extent:

1 Glass negative (b&w, 23.8 cm. x 17.8 cm.)

Type:

Archival materials

Glass negatives

Place:

Asia

Iran

Date:

1880-1930

Scope and Contents:

- Handwritten number (inked, probably by Antoin Sevruguin) reads, "49."

- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1177."

- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "86) Bushire. Telegraph office." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]

- Myron Bement Smith handwritten caption in English reads, "47.P; Box 47.6: Fars. Bushire. Telegraph office, general view. (86)." [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 47."

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.47.06

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.

Topic:

Architecture  Search this

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.

Identifier:

FSA.A.04, Item FSA A.4 2.12.GN.47.06

See more items in:

Myron Bement Smith Collection

Myron Bement Smith Collection / Series 2: The Islamic Archives / 2.12: Antoin Sevruguin Photographs / 2.12.01: Glass Plate Negatives / Glass Plate Negatives: Sets 1-61

Archival Repository:

Freer Gallery of Art and Arthur M. Sackler Gallery Archives

GUID:

https://n2t.net/ark:/65665/dc3313423ba-6d90-4915-852a-31af26cf6493

EDAN-URL:

ead_component:sova-fsa-a-04-ref10447

Creator:

Sevruguin, Antoin, 1851-1933  Search this

Names:

Islamic Archives  Search this

Sevruguin, Antoin, 1851-1933  Search this

Smith, Myron Bement, 1897-1970  Search this

Collection Creator:

Smith, Myron Bement, 1897-1970  Search this

Extent:

1 Glass negative (b&w, 21.4 cm. x 16.4 cm.)

Type:

Archival materials

Glass negatives

Studio portraits

Place:

Asia

Iran

Date:

1880-1930

Scope and Contents:

- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "He retouched all the faces and put varnish on them. The left side of the negative has a lighter rectangle on which the image is not developed. The photographer painted the background on the image wi ink."

- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The right side is chopped off."

- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "88) Group of Baha'is." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]

- Myron Bement Smith handwritten caption in English reads, "47.P; Box 47.7: Group of Bahais." [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 47."

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.47.07

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.

Topic:

Portrait photography  Search this

Genre/Form:

Glass negatives

Studio portraits

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.

Identifier:

FSA.A.04, Item FSA A.4 2.12.GN.47.07

See more items in:

Myron Bement Smith Collection

Myron Bement Smith Collection / Series 2: The Islamic Archives / 2.12: Antoin Sevruguin Photographs / 2.12.01: Glass Plate Negatives / Glass Plate Negatives: Sets 1-61

Archival Repository:

Freer Gallery of Art and Arthur M. Sackler Gallery Archives

GUID:

https://n2t.net/ark:/65665/dc3af2a1e56-5ff1-4008-a8af-3ae2daef5f04

EDAN-URL:

ead_component:sova-fsa-a-04-ref10448