MS 1122 Report on the forestry, elevation, rainfall, and drainage of the Colorado Valley, together with an apercu of its principal inhabitants, the Mahhaos Indians
An exhibition designed to encourage museum visitors to examine the role of art in their community. Organized and displayed at the Anacostia Museum from July 15, 1990 to September 16, 1990 the show included murals and sculptures viewed in Washington, DC and also encompassed personal statements such as hairstyles, clothes, and jewelry.
Scope and Contents note:
These records document the planning, organizing, execution, and promotion of the exhibition. Materials include correspondence, research files, release forms, exhibit script, clippings, media clippings, and flyers.
Restrictions:
Use of the materials requires an appointment. Please contact the archivist to make an appointment: ACMarchives@si.edu.
"The photo depicts one of Sevruguin's female models sitting on a carpet covered short seat. The model reappears in some of the other studio portraits of the artist alongside other male and female models in various clothing and poses. Most of the famous studio portraits of the artist have been produced in the earlier days of his career. The portraits were frequantly published in books and travelogues of the time." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
"The image is a copy print of another, placed on various sheets of paper. One of the papers underneath is a ticket for what seems to be a play." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "416) Persian girl." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 21.4: Persian girl (# 416)." [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 21."
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.21.04
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.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "473."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "84) Kurdish woman." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 37.6: Kurdish woman (# 84)." [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 37."
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.37.06
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.
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, 16.6 cm. x 22.3 cm.)
Type:
Archival materials
Gelatin silver prints
Photographic prints
Studio portraits
Place:
Asia
Iran
Date:
1880s-1930
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, "1453."
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1453."
- On verso of the print, handwritten caption (penciled, probably by Antoin Sevruguin) in French reads, "Derviche."
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.65
[Myron Bement Smith collection. Freer/Sackler Archives, No. A.4.19]
[16(D5)]
FSA A.4 2.12.Up.65
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, 17.3 cm. x 22.2 cm.)
Type:
Archival materials
Gelatin silver prints
Photographic prints
Studio portraits
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, "37."
- On recto of the print, faded handwritten number (inked, probably by Antoin Sevruguin) reads, "1353."
- On verso of the print, handwritten number (penciled) reads, "208."
- On verso of the print, handwritten caption (penciled, probably by Antoin Sevruguin) in French reads, "Derviche nègre."
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.18
[Myron Bement Smith collection. Freer/Sackler Archives, No. A.4.23]
[16(D7)]
FSA A.4 2.12.Up.18
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.
1 Negatives (photographic) (black and white, 120 mm)
Type:
Archival materials
Negatives (photographic)
Place:
Mali
Gao (Mali)
Date:
1968
General:
Shamir's original descriptions and negative numbers: Republic of Mali, Mopti Gao Tombouctou,Bella's alo 698; 626-5
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
1 Negatives (photographic) (black and white, 120 mm)
Type:
Archival materials
Negatives (photographic)
Place:
Mali
Mopti (Mali)
Date:
1968
General:
Shamir's original descriptions and negative numbers: Republic of Mali, Mopti Gao Tombouctou,Bella's alo 698; 626-2
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
