"The mosque bears the inscription of Fath Ali Shah-i Qajar, but the structure can be dated as far back as mid 18th century." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten Cyrillic signature in white (inked), probably by Antoin Sevruguin reads: "Cebpróôun."
Arrangement:
One of 62 albumen prints, un-numbered and without any apparent organization, housed in document box and stored on shelves. The 62 photographs were found sandwiched between the front and back covers of a leather-bound album of 19th. century photographs of Antoin Sevruguin. Many of these prints are duplicates of these in the album, and were certainly purchased at the same time.
Biographical / Historical:
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Local Numbers:
FSA A2011.03 B.24
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.
Stephen Arpee Collection of Sevruguin Photographs. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington D.C.
"Based on the different inscriptions in the building, the earliest part of the structure can be dated to early 15th century. The building however has extensive renovations from Safavid and Qajar period. The visible inscriptions in the photo dates to 1307 (1890), therefore the photograph must have been taken after this date. The inscription bears the name and signature of the artist, as welll as Nasir al-Din Shah's praises." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "1267."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1264."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 15.12: Kazvim. mosque of Shah Sultan Hussein. Entrance (sent to Prof. Varjavand, U. of Tehran)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Arrangement:
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 15."
Biographical / Historical:
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Local Numbers:
FSA A.4 2.12.GN.15.12
General:
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
"The structure dates back to 807 A.D. with the later Seljuk additions of the two iwans in the northern side and the twelfth century construction of the prayer hall, dome, courtyard, and the religious school. Later additions include the Safavid (1501-1732) addition of the southern and western iwans and arcades and the Qajar (1779-1924) expansion of the whole structure. The courtyard of the mosque - as one of the largest one of its kind in Iran - measures around 4000 square meters. the photo depicts the structure from the rooftops of the houses on its north side. The northern iwan an its minarets stand along the north-south axis of the structure and in front of the dome." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "The sky is covered with black paper. The area between the paper and the horizon line is filled with black ink. The ink is applied with meticulous attention to detail of the horizon."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "167."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "476."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 33.5: (P) [black-and-white print on hand]. Mosque." [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 33."
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.33.05
General:
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
"The mosque bears the inscription of Fath Ali Shah-i Qajar, but the structure can be dated as far back as mid 18th century." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "431."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "483."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "307) Ab Ambar Qazvin." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 40.8: (P) [black-and-white print on hand]. Kazwin. Masjid-i Jum'a. Iwan." [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 40."
Biographical / Historical:
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Local Numbers:
FSA A.4 2.12.GN.40.08
General:
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
"Based on the different inscriptions in the building, the earliest part of the structure can be dated to early 15th century. The building however has extensive renovations from Safavid and Qajar period. The visible inscriptions in the photo dates to 1307 (1890), therefore the photograph must have been taken after this date. The inscription bears the name and signature of the artist, as well as Nasir al-Din Shah's praises." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "Red ink covering the sky. Small piece of black paper still attached to the top right border of the emulsion side. There is remnants of glue on the sky that indicates the presence of paper on the sky. The figure of a man beside the donkey in the mid ground is scratched off. Very heavy and thick glass.."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "619."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "657."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 48.5: masjid (faded)." [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 48."
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.48.05
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.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "837."
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "457."
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "837."
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "---(?)."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Bazaar Scene in front of Mosque."
Arrangement:
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran; Architecture; Landscapes). This print is in the following subject category: 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:
[18(A4)]
FSA A.4 2.12.Sm.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.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "167."
- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "476."
- On verso of the print, handwritten number (penciled) reads, "33.6 (scratched); 33.5."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Kashan(?) Mosque."
Arrangement:
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran); Architecture; Landscapes). This print is in the following subject category: Architecture.
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:
[19(B8)]
FSA A.4 2.12.Sm.61
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.
A large album of prints by photographer Antoin Sevruguin, likely dating from his early career in Iran in the 1870s and 1880s. The collection also includes a number of loose, unbacked prints, many duplicating the photographs in the album. Roughly half of the mounted prints have English handwritten captions.
Arrangement:
Images indexed by original photographic print number.
Biographical / Historical:
Antoin Sevruguin managed and operated one of the most successful commercial photography studios in Tehran in the late 19th century. Born in the 1840s in Iran, Sevruguin's mother returned with her children to her hometown of Tbilisi after his father Vassil, a Russian diplomat in Iran, died in a horse riding accident. Trained as a painter, Sevruguin returned to Iran in the early 1870s accompanied by his two brothers, establishing a photography studio first in Tabriz and then Tehran. His studio's ties to Tbilisi, however, persisted through the years; many of the early portraits of Dervishes and women have been simultaneously attributed to Antoin Sevruguin and Dimitri Yermakov, the Georgian photographer who is often referred to as Sevruguin's mentor from Tbilisi. Many of Antoin Sevruguin's photographs were published as early as 1885 in travelogues, journals and books indicating that by that time he had a fully established practice in Tehran's Ala al-Dawla street, with ties to the court of Nasir al-Din Shah Qajar. Often unacknowledged as the producer of published images in his own time - the 1902 photographic survey of Persepolis being the most glaring of such authorial misrepresentations - he was nevertheless celebrated and acknowledged for his artistic vision and his keen eye for composition, achieving the Medal of Lion and Sun from Nasir al-Din Shah, the 1897 Medal of Honour in the Brussels International Exposition, and the 1900 Medal of Honour in Paris International Exposition. Reflecting a career that spans nearly half a century, Sevruguin's diverse body of work includes studio portraits of families, women and dervishes, survey photographs of archeological sites, objects, landscapes and architecture, and photographs of royalty, high officials and ceremonies of the Qajar court. The range of his output not only demonstrates his own pictorial concerns and artistic abilities but also the divergent interests of his clients. Despite numerous devastating incidents throughout his career - the loss of more than half of his negatives in a 1908 blast and fire, an unsuccessful attempt at diversifying into cinematography in the 1910s, and the confiscation of the remainder of his negatives in the mid-1920s to name a few - his studio remained operational even after his death in 1933. A number of negatives from the Sevruguin studio can be dated to the years after Antoin's death, indicating that the Sevruguin studio continued to be commercially viable. As one of the most prolific early commercial photographers in Iran, Antoin Sevruguin's artistic legacy has since proved far more enduring.
Local Numbers:
FSA A2011.03
Provenance:
Purchase; 2011.
Restrictions:
Collection is open for research.
Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Stephen Arpee Collection of Sevruguin Photographs. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington D.C.
From Berlin to Pasargadae via Basra, Baghdad, Paikuli, Tāq-i Bustān, Hamadan, Teheran, Khurha, Qum and Isfahan.
- FSA A.6 01.04, on which Joseph Upton's classification mentions "N-83", provides an account of an expedition (February 14, 1923 to November 14, 1923) from Berlin (Germany) to Pasargadae (Iran), via Bombay (india) and Karrachi (Pakistan), then following ancient caravan roads via Baghdad (Iraq), Paikuli (Iraq), hamadan (Iran), Tehran (Iran), Isfahan (Iran), to finally reach Shiraz (Iran) and the monuments in its vicinity.
- Original handwritten title on cover reads: "Ernst Herzfeld; Tagebuch, Persien I, 1923"
- Ab-i'arm, near Khurha (Iran): Sketch plan of bath, (p. 1).
- Bombay (India): Refused permission to disembark, March 16, 1923, (p. 1).
- Karrachi (Pakistan): Refused permission to disembark, March 18, 1923, (p. 8).
- Zubair (old Basra) (Iraq): Comparison with Samarra (Iraq), March 24, 1923, (p. 9).
- Baghdad (Iraq) and Ctesiphon (Iraq): Notes on Talisman Tor, Mustansiriyya Madrasa, Sultanatspaläste, in der Zitadelle, Mirjāniyya Madrasa, Khan Ortma. Side trips to Ctesiphon. Comments on British and Arab personalities and on political views of Egyptians, March 25 to May 24, 1923, (pp. 10-36).
- Miss Gertrude Bell, quote "uncrowned Queen of Iraq," April 5, 1923, (p. 12).
- Samarra (Iraq): Visit with comments of personalities, state of ruins and Caliph's palace. Comparison of ruins with Kufa (p.21); of mosques with those at Nejef and Qazwin (p.22); and fate of the lost finds from Samarra during World War I., April 9-16, 1923, (pp. 15-16).
- al-Kharsuin (Iraq): Visit and observation re ruins, probably Nebukadnezar's time. Sketch: plan of temple with ziggurat, April 17, 1923, (p. 16).
- Taq (Iraq): Visit to and comments, April 19, 1923, (pp. 17-18).
- Salman Pak (Iraq): Sketch of two carved stucco ornaments, April 19, 1923, (pp. 19).
- Baghdad (Iraq): Daniel, Menachem, Baghdad philantropist; Sarkis, Yusuf (Baghdad), "very fine library, almost complete about Iraq," April 25, 1923, (p. 19).
- Vicinity of Kufa (Iraq): Sanctuary of Dhuʹl-Kifl, April 27, 1923, (pp. 19-21).
- Nejef (Iraq): Safavid entrance to mosque compared with mosques in Samarra (Iraq) and Qazvin (Iran), April 28, 1923, (pp. 22).
- Baghdad (Iraq): Khayyat, Djirdjis (antique dealer, Baghdad), important antiquities for sale: Hellenistic, Parthian, Sasanian and Islamic, May 12, 1923, (pp. 23-25).
- Bahrām V GÅr; silver plate in possession Khayyat, May 12, 1923, (pp. 24-25).
- Account of fate of Babylon expedition finds during World War I: May 1923, (pp. 27-30).
- Fate during World War I of Sarre's "hebb", (p. 31).
- More discussion of antiquities, including important Sasanian bullae, May 18, 1923, (pp. 32-35).
- Warka (Iraq): Sasanian bullae, May 18, 1923, (pp. 32-35).
- Deli 'Abbas (Iraq): Trip from Baghdad via Khan Bani Sa'ad, Nahrawan, Ba'quba, Khan al-Musabbagh, Abu Saida to Deli 'Abbās, with comments on Arab and British officials, May 24-26, 1923, (pp. 37-41).
- Kal'at al-Mufti (Iraq): The larger of two Tells between Abu Saida and Deli 'Abbas, May 26, 1923, (p. 39).
- Qara Tepe (Iraq): Trip from Deli 'Abbas via Nahr Shohane, Tell Manzil (Ishtar-statuette), Khir Suweine, Qyshla Suweine (ruins), Kashheh Pass, Narimchai. Comments on inhabitants and landscape, May 27, 1923, (pp. 41-44).
- Kallan (Iraq): Trip from Kifri via Sarkalan and Kallan (Kal'a-i Shirwana), May 29, 1923, (pp. 49-51).
- Trip to Paikuli (Iraq) via Zhala and work there, including new names in inscriptions, May 30 to June 7, 1923, (pp. 51-53).
- Trip from Paikuli (Iraq) via Diagiaish, Qaslan, Darband, Khan-i Naft to Sarpul, June 7, 1923, (p. 52).
- Darband Gorge (Kurdistan): Babylonian reliefs and ruins, June 9, 1923, (pp. 54-55).
- Sarpul (Iran): Made squeezes of inscriptions. Arsacid relief with Pahlavi inscription of Ardvaran V (Hartaban), June 11-12, 1923, (p. 55-57).
- Dukkan i Daud (Iran), June 13 1923, (pp. 57-58).
- Kerind (Iran): Building remains, June 14, 1923, (pp. 59).
- Firuzabad (Iran): In the valley from Kerind a whole series of Tells. Nearby the rock drawing of an ibex, June 14, 1923, (p. 59-60).
- Husainabad (Iran): Large Tell, June 15, 1923, (pp. 60).
- Hasanabad (Iran): Many Tells, two meaningful, June 16, 1923, (pp. 61).
- Harnawa (Harunabad) (Iran): Many old settlements, June 16, 1923, (pp. 61).
- Kermanshah (Iran), June 21, 1923, (pp. 62-64).
- Taq-i Bustan (Iran): Small grotto: Shapur II and III. Squeezes of textiles of hunting reliefs in large grotto of Khusro II. Notes on Kale-i Khusrawi, June 21-24, 1923, (pp. 64-69).
- Kale i Khosrowi (Iran): Sketch of ruins, June 21, 1923, (p. 67).
- Tell Ciah-i Gulan (Iran), June 21, 1923, (p. 67).
- Hajjiabad and Bisutun (Iran): Column bases and capitals, Sasanian or Arsacid, June 26, 1923, (pp. 69-70).
- Bisutun (Iran): Sasanian capital, Khusro II; Parthian worshipper; relief of Mithradates II; inscriptions of Darius, Mithradates and Gotarzes; 12-13th c. tombstones, June 26, 1923, (pp. 70-72).
- Sunghur (Iran): Imamzadeh in the city and Imamzadeh Malag outside; Kufic tombstones; and comments on the inhabitants, June 25-26, 1923, (pp. 74-76).
- Asadabad (Iran), June 29, 1923, (p. 76).
- Ferman Ferma, owner of Adjin. For rock sculpture of father, Timur Mirza, see under Pul Abginne. In 1905 Ferman Ferma Governor of Kirmanshah, Burujird, Luristan, June 29, 1923, (p. 76).
- Hamadan (Iran): Lion, Esther's tomb. Gumbad-i Alawiyyan, Imamzadeh Baba Tahir, Kufic tombstones in cemetery Sar-i ahl-i qubur, antiquities for sale, July 1-4, 1923, (pp. 77-82).
- Ab-i'arm (Iran), July 4, 1923, (p. 82).
- Qazvin (Iran): Trip from Hamadan to Qazvin via Ab-i Garm. Mosque compared with that in Nejef, July 5-6, 1923, (pp. 83-84).
- Qazvin (Iran) to Teheran (Iran), July 8-9, 1923, (pp. 84-85).
- Teheran (Iran): Visit to photographic studio of Sevruguin, July 9, 1923, (p. 85).
- Teheran (Iran): No diary, July 10 to September 30, 1923.
- Ray (Iran): Camped at Citadel, October 1, 1923, (p. 86).
- Varamin (Iran): Recorded all inscriptions, October 2-3, 1923, (pp. 86-88).
- Qum (Iran): Trip from Waramin via Abarik, Hajjiabad, Karimabad, Sar-i Masila, Muhammadabad, Kadj, Kumrad, Qara Tepe. Treasures of the Shrine. Older grave towers of 761/1359 and 792/1390, October 4-6, 1923, (pp. 88-91).
- Qara Tepe (Iran): Ruin mound on the edge of the salt desert enroute to Qum, October 5, 1923, (p. 90).
- Qum (Iran): Gunbad-i Sabz, inscriptions noted and visit to three sanctuaries, October 7, 1923, (pp. 91-92).
- Daghun (Iran): Stone lions; Imamzadeh Ja'far, restored by Shah 'Abbas I, October 8, 1923, (pp. 92-94).
- Husainabad (Iran) (between Dāghun and Khurha): Trip via Daulatabad, Kal'a Tcham, Deh-i NÅ, October 9, 1923, (pp. 94).
- Khurba (Iran): Notes on temple ruins, graves and ceramics. Sketch: possible plan and sockel of corner column, October 10-12, 1923, (pp. 95-101).
- Dilijan (Iran): From Khurha to Dilijān via Nāin and Āb-i Garm. Popular conception of "antiques" of peasants of Dilijan. Sketch: plan of old bath (inside covers of N-83), October 13, 1923, (pp. 101-102).
- Personal comments on Misc. topics, 1923 Oct. 13. Comments on possible results of current political attitudes in Germany under Streseman, October 13, 1923, (pp. 102-104).
- Dilijan-Isfahan (Iran): Itineraries, October 14, 1923, (p. 104).
- Reflections on what caused the ruin of the Orient, October 14, 1923, (pp. 104-106).
- Quruqtchai (Iran): Trip from Quruqtchai to Wandadeh, October 15 1923, (p. 106).
- General observations on Persian people and politics, October 15, 1923, (pp. 106-108).
- Wandadih (Iran): Trip via Mehme and Djoshagan-i qali. Notes on limestone doors, October 16, 1923, (pp. 108-109).
- Observations on the historic relationships between the Slavs and Western Europe, October 16, 1923, (p. 109-111).
- Comments on donkeys and horses, October 17, 1923, (pp. 111-112).
- Gez (Iran), October 18, 1923, (pp. 113-120).
- Observations on British customs, war memorials and cultural and political conditions in Europe, October 18, 1923, (pp. 113-120).
- Isfahan-Bushire and Shiraz-Bushire, October 18, 1923, (pp. 114-115).
- Isfahan (Iran): Chehel Sutun with reliquaries (pp.124, 126); Masjid-i 'Ali (pp.122, 127); Mashid-i Jum'a (pp.122, 128); Shahristan with minaret "Chan Rustan" (p.127) Masjid-i Shah (p.127); Imamzadeh Isma'il (Jewish Nabi 'Isaya) (pp. 127, 130); Chehel Dukhtaran madrasa (p.128); Chinar-i Dalbati (p.128); Minare-Baba Tuteb (p.129); Baba Sukhta (pp.128, 129); Baghuch Khana (p.129); Tabariq (p.129); Baba Qasim (pp.129, 130); Takht-i Pulad (pp.129, 132); Harun-i Wilaya (p.130); Ja'fariyya (p.130); entrance of Qaisariyya (p.130); Hasht Behisht (pp.130, 132), October 19 to November 7, 1923, (pp. 124-132).
- Isfahan (Iran), October 20-23, 1923, (pp. 120-124).
- Isfahan (Iran): Sketch: Location of paintings, discussion of Chehel Sutun and objects in museum (Korans, Wasf-nāmeh), October 23, 1923, (p. 124).
- Isfahan (Iran), October 25, 1923, (p. 127).
- Pir Bakran (Iran): Sketch of glazed tile, November 6, 1923, (pp. 132).
- Abadeh (Iran): Trip from Isfahan via Marg, Maqsud Beg, Yezdikhast. Conversations with officials in Abadeh, November 7-10, 1923, (pp. 132-133).
- Khan-i Khurra (Iran): Eight-sided Safavid caravansarai between Dehbid and Abadeh, November 11, 1923, (p. 136).
- Qadirabad (Iran): Trip from Dehbid, November 12, 1923, (pp. 138-139).
- Pasargadae (Iran): Sketch: detail of columns and bases; doorway of tomb of Cyrus, November 13-14, 1923, (p. 139-143).
Ernst Herzfeld Papers, Series 1: Travel Journals; Expedition to Persia, Diary 1
Arrangement:
In the original arrangement of the Ernst Herzfeld Archive, Travel Journals were included in a larger body of diverse material acknowledged by Ernst Herzfeld as his study collection. In the early 1970s, Joseph Upton, for research purpose, rearranged the collection and created a specific series (Ernst Herzfeld Papers, Series 1: Travel Journals, 1905-1928) for eight travel journals. For some reason, Upton has given this journal an accession number related to the series he created for the notebooks (Ernst Herzfeld Papers, Series 3: Notebooks, 1904-1946, 1957, n.d.), probably following Herzfeld's original organization.
Local Numbers:
Ernst Herzfeld Papers, N-83
FSA A.6 03.083
FSA A.6 01.04
General:
- Additional information from staff reads, "The handwritten text of the Journal in German was transliterated and reviewed by Ernst Herzfeld's former collaborator, Friedrich Krefter, with the assistance of his wife, Maria Krefter. Please contact the Archives for digital access to the transliterated copy."
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Ernst Herzfeld Papers. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington D.C. Gift of Ernst Herzfeld, 1946
1 Volume (Sketchbook (28 pages), 12.8 cm. x 25.7 cm.)
Type:
Archival materials
Volumes
Sketchbooks
Drawings
Sketches
Place:
Asia
Iraq
Iran
Bisutun Site (Iran)
Fīrūzābād (Iran)
Hamadān (Iran)
Paikuli (Iraq)
Ray (Iran)
Taq-e Bostan Site (Iran)
Sarpol-e Zahab (Iran)
Date:
1923
Scope and Contents:
- SK-1 is the first of a series of thirty-five sketchbooks (Skizzenbücher), in which Ernst Herzfeld recorded his observations on topography, landscape, inscriptions and reliefs, archaeological remains, architecture, artifacts and decorative motifs related to Ctesiphon (Iraq), Qara Tepe (Iran), Paikuli (Iraq), Taq-i Bustan (Iran), Darband i Shaikhan and Sarpul (Iran), Harnawa, Tell Ishan and Kale i Khosrowi (Iran), Bisutun (Iran), Asadabad and Sunghur (Iran), Hamadan (Iran), Qazvin (Iran), Varamin (Iran), Rayy (Iran), Khurha, Tepe Maringar and Husainabad (Iran), and Daulatabad (Iran).
- Original handwritten title on cover reads: "Ernst Herzfeld; Skizzenbuch I: Persien, 1923"
- In Finding Aid, caption for pg. 1 reads, "Ctesiphon [(Iraq)], Taq-i Kisra, stucco fragments, [19.4.1923], [N-89, inventory number 542]."
- In Finding Aid, caption for pg. 2 and 3 reads, "Travel-log Deli 'Abbas, Qara Tepe, Kifri, May 27-29, 1923."
- In Finding Aid, caption for pg. 4 reads, "Tell Ishan [(Iran)], profiles of three potsherds, [see FSA A.6 05.0660]."
- In Finding Aid, caption for pg. 5 reads, "Pahlavi inscription."
- In Finding Aid, caption for pg. 6 and 7 reads, "Paikuli [(Iraq)], [plaited hair and palmettes attached to the crown of king Narseh], [see FSA A.6 05.0985], and bell-shaped [column] capital, [see FSA A.6 05.0743]."
- In Finding Aid, caption for pg. 8 reads, "Darband i Shaikhan [(Iran)], [rock relief depicting king with foot on the prostrate figure of an enemy as well as detail of stone and metal axes], [see FSA A.6 05.0775; FSA A.6 05.0791]."
- In Finding Aid, caption for pg. 9 reads, "Taq-i Bustan [(Iran)], cross-section of column [with fluted shaft, drawn from the Sasanian rock reliefs in the large vault], [see FSA A.6 05.0734]; [ornaments on cloaks of the god and the godesses], [see FSA A.6 05.0918; FSA A.6 05.0955]."
- In Finding Aid, caption for pg. 10 reads, "Sarpul [(Iran)], Pahlavi inscription, [12 June 1923]: cross-section of column [with fluted shaft]; Taq-i Girra, masons' marks, [see FSA A.6 05.0955]."
- In Finding Aid, captions for pg. 11 and 12 reads, "Harnawa-Harunabad [(Iran)], [reconstruction of prehistoric pottery, profiles of rims and handles], [see N-89, inventory number 734], [see FSA A.6 05.0660]."
- In Finding Aid, caption for pg. 13 reads, "Taq-i Bustan, Bisutun [(Iran)], measurements for plan of [group of small grottoes shaped like a Roman triple gate], [see FSA A.6 05.0717; FSA A.6 05.0717a]."
- In Finding Aid, captions for pg. 14 and 15 reads, "Kale i Khusrawi [Kale i Khosrowi (Iran)], profiles of Sasanian pottery, [inventory number 920], [see FSA A.6 05.0660]."
- In Finding Aid, caption for pg. 16 reads, "Taq-i Bustan and Bisutun [site] [(Iran)], details of capitals [various vegetal ornaments], [see FSA A.6 05.0955]."
- In Finding Aid, caption for pg. 17 reads, "Bistun [Bisutun site (Iran)], Greek inscription [on rock relief of Mithridates II (the Parthian remains)]; and on gravestone of 1232 H., in cemetery north of Bistun, [see FSA A.6 04.GN.1907]."
- In Finding Aid, caption for pg. 18 reads, "Tepe Maringan [(Iran)], south-east of Sunghur, between Sunghur and Qara Tepe, profiles of [prehistoric] pottery, [see N-89, inventory number 800], [see FSA A.6 05.0655]."
- In Finding Aid, captions for pg. 19 and 20 reads, "As'adabad [vicinity of Asadabad (Iran)], part of column [bases] and [unidentified gravestones with Arabic inscription, in Kufic script], [see FSA A.6 05.0735; FSA A.6 05.0735a; FSA A.6 05.0749; FSA A.6 05.0750]."
- In Finding Aid, caption for pg. 21 reads, "As'adabad [vicinity of Asadabad (Iran)], panel [with Arabic inscription, in Kufic script]; Sunghur [(Iran)], gravestone [with Arabic inscription, in Kufic script]; Firuzabad [(Iran)], between Kerind and Harunabad, [incised relief depicting a hunting scene]."
- In Finding Aid, caption for pg. 22 reads, "Darband i Shaikhan [(Iran)], [northwest of Sarpul], cuneiform inscription [on rock relief depicting king with foot on the prostrate figure of an enemy], [see FSA A.6 05.01292]."
- In Finding Aid, caption for pg. 23 reads, "Hamadan [(Iran)], Gumbadh i 'Alawiyyan [Gunbad-i Alaywian], [Arabic inscription], in Kufic [script]; Sura 76, 5 and 6, [see FSA A.6 04.GN.1944]."
- In Finding Aid, caption for pg. 24 reads, "Hamadan [(Iran)], Arabic inscriptions, in Kufic script, in cemetery Sar i Ahl al-Qubur."
- In Finding Aid, caption for pg. 25 reads, "Qazvin (Iran), three Safavid tile inscriptions, white on blue."
- In Finding Aid, caption for pg. 26 reads, "Bistun [Bisutun site (Iran)], [Arabic inscription, in Kufic script, found on gravestone]."
- In Finding Aid, captions for pg. 27, 28 and 29 reads, "Sunghur [(Iran)], Kufic and Naskhi tombstone inscriptions, [Arabic inscriptions, in Kufic and Naskhi script, found on gravestone], [see FSA A.6 06.A029; FSA A.6 06.A030; FSA A.6 06.A030a; FSA A.6 06.A030b]."
- In Finding Aid, caption for pg. 30 reads, "Kale i Khusrawi [Kale i Khosrowi (Iran)] near Kermanshah, Kufic inscription on tombstone [Arabic inscription, in Kufic script, from unidentified gravestone], [see FSA A.6 06.A031]."
- In Finding Aid, caption for pg. 31 reads, "Waramin [Varamin (Iran)], Mosque inscription on outer door [Friday Mosque, remnants of an Arabic inscription on main portal iwan] and one of Sayyid 'Ala in the city, [see FSA A.6 04.GN.1928; FSA A.6 04.GN.1930; FSA A.6 04.GN.1931]."
- In Finding Aid, caption for pg. 32 reads, "Waramin [Varamin (Iran)], Kufic inscription in Imamzadeh Sayyid 'Ala [Ala al-Din Tomb Tower, Arabic inscription, in Kufic script, on the triangular flanges], [see FSA A.6 04.GN.1938; FSA A.6 04.GN.2520; FSA A.6 04.GN.2521]."
- In Finding Aid, caption for pg. 33 reads, "Rayy [(Iran)], Kufic inscription of 534H. [Arabic inscription on iron plaque, possibly from Tughril Mausoleum], [see N-89, inventory number 1515], [see FSA A.6 04.GN.1441]; silk roundel, Tehran, [see N-89, inventory number 1517], [see FSA A.6 04.GN.1434]."
- In Finding Aid, captions for pg. 34 to 43 reads, "Taq-i Bustan [(Iran)], [textile pattern on costume, drawn from the two Sasanian rock reliefs], [see FSA A.6 05.0308; FSA A.6 05.0311; FSA A.6 05.0312; FSA A.6 05.0313; FSA A.6 05.0924; FSA A.6 05.0946; FSA A.6 05.0951]."
- In Finding Aid, caption for pg. 44 reads, "Arabic inscription on inlaid copper tray, possibly in Berlin Museum, [see N-89, inventory number 1632], [see FSA A.6 04.GN.1430]."
- In Finding Aid, captions for pg. 45, 46, and 47 reads, "Husainabad [(Iran)], opposite Neizar, [prehistoric] pottery, profiles [of rims and handles], [see FSA A.6 05.0655]."
- In Finding Aid, captions for pg. 48 and 49 reads, "Daulatabad [(Iran)], near Khurha, [prehistoric] pottery, profiles [of rims and handles], [see FSA A.6 05.0654]."
- In Finding Aid, captions for pg. 50 and 53 reads, "Khurha and Khurha-Shahriyar [(Iran)], [prehistoric] pottery, profiles [of rims and handles] and copper arrow head, [see FSA A.6 05.0654]."
- In Finding Aid, captions for pg. 54, 55, and 56 reads, "Measurements for plan of temple area at Khurha [(Iran)], Oct. 11, [19]23."
Ernst Herzfeld Papers, Series 2: Sketchbooks; Subseries 2.01: Persia, 1923: Sketchbook 01
Arrangement:
Sketchbooks, housed in document boxes and stored on shelves, are organized by Joseph Upton into 13 subject categories.
Local Numbers:
Ernst Herzfeld Papers; SK-1
FSA A.06 02.01.01
Former Title or Title Variations:
Ernst Herzeld; Skizzenbuch I: Persien, 1923
General:
- Title is provided by Xavier Courouble,FSg Archives cataloger, based on Herzfeld's original sketchbook captions and Joseph Upton's Catalogue of the Herzfeld Archive.
Date/Time and Place of an Event Note:
"Ernst Herzfeld's years in Iran [Persia] from [February] 1923 to [the end of October] 1925 were made possible by a private company with limited liability called the Gesellschaft zur Förderung von Ausgrabungen und Forschungsreisen GmbH, which was founded in 1923. Its aim was to foster excavations and scientific expeditions in Asia and to publish the results. [...]. [Consequently] Herzfeld was able to travel freely in Iran and survey most major archaeological sites, including Pasargadae, Persepolis, and Kuh-e Khwaja, and develop for future excavations." [Jens Kröger, "Ernst Herzfeld and Friedrich Sarre", Ernst Herzfeld and the Development of Near Eastern Studies, 1900-1950. Edited by Ann Gunter and Stefan R. Hauser. Leiden: Brill, 2005. P.61 and P.64]
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Ernst Herzfeld Papers. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington D.C. Gift of Ernst Herzfeld, 1946
Folio from an 'Aja'ib al-makhluqat wa gharaib al-mawjudat (Wonders of creation and oddities of existence) by al-Qazvini (died 1283); recto: Illustration: A haloed figure enthroned; verso: text
Folio from an Aja'ib al-makhluqat wa gharaib al-mawjudat (Wonders of creation and oddities of existence) by al-Qazvini (died 1283); recto: A man by the edge of a stream; verso: text
