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Peter and Rose Krasnow papers

Creator:
Krasnow, Peter, 1886-1979  Search this
Names:
Peter Krasnow Arts Foundation  Search this
United States. Aircraft Warning Service. Ground Observer Corps  Search this
Blades, Harriet  Search this
Budnick, Dan  Search this
Burton, Leslie  Search this
Clements, Grace, 1905-1969  Search this
Cocker, Conrad  Search this
Danieli, Fidel  Search this
DeLuce, Robert  Search this
Drake, Alfred S.  Search this
Howe, Dudley  Search this
Krasnow, Rose, 1885-1984  Search this
Morley, Grace, 1900-1985  Search this
Noer, Philip  Search this
Owen, Dale  Search this
Owen, Elaine  Search this
Price, Aimée Brown, 1939-  Search this
Raboff, Ernest Lloyd  Search this
Raboff, Ina  Search this
Stone, Irving, 1903-  Search this
Weston, Edward, 1886-1958  Search this
Weston, Edward, 1886-1958 -- Photographs  Search this
Weston, Flora -- Photographs  Search this
Extent:
6.9 Linear feet
Type:
Collection descriptions
Archival materials
Sketchbooks
Photographs
Sketches
Diaries
Poems
Notes
Essays
Short stories
Prints
Transcripts
Sound recordings
Date:
1914-1984
Summary:
The papers of painter, printmaker, and sculptor Peter Krasnow (1886-1979) and his wife, writer Rose Krasnow (1885-1984), measures 6.9 linear feet and date from 1914 to 1984. Papers include biographical materials, a sound recording, correspondence, essays, poetry, short stories, notes, transcripts of lectures and radio talks, five diaries of Peter Krasnow, personal business records, exhibition catalogs and announcements, clippings, magazines, five sketchbooks, sketches and drawings in multiple media, prints, and photographs.
Scope and Content Note:
The papers of painter, printmaker, and sculptor Peter Krasnow (1886-1979) and his wife, writer Rose Krasnow (1885-1984), measures 6.9 linear feet and date from 1914 to 1984. Papers include biographical materials, a sound recording, correspondence, essays, poetry, short stories, notes, transcripts of lectures and radio talks, five diaries of Peter Krasnow, personal business records, exhibition catalogs and announcements, clippings, magazines, five sketchbooks, sketches and drawings in multiple media, prints, and photographs.

Biographical materials include documentation of Rose Krasnow's service as a member of the Army Air Forces Ground Observer Corps, programs and other materials from various memorial services, a sound recording with commentary on a Peter Krasnow exhibition, and documentation of a project to publish Rose Krasnow's poetry.

Correspondence consists of Peter and Rose Krasnow's personal and professional correspondence as well as a small amount of third party correspondence. Personal correspondence with friends and family involves health, work, daily events, and other life updates. Professional correspondence with art dealers, curators, gallery and museum directors, collectors, and colleges and universities concerns exhibitions, sales, loans, and donations of artwork. Primary correspondents include Leslie Burton and Harriet Blades, Dan Budnik, Grace Clements, Conrad Crocker, Dudley Howe, Lilly Weil Jaffe, Grace L. McCann Morley, Dale and Elaine Owen, Aimée Brown Price, Ernest and Ina Raboff, Irving Stone, and Edward Weston. There are also numerous scattered letters from artists, writers, curators, critics, museums, arts associations, and Jewish organizations.

Writings and notes are by Peter Krasnow, Rose Krasnow, and others. Writings by Peter Krasnow include a draft autobiography, essays, lectures on wood sculpture, typescripts, notes, and writings on art. Writings by Rose Krasnow include essays, plays, poetry, and short stories. Writings by others consist of essays, lectures, notes, plays, poetry, short stories, and typescripts. Other writers include Grace Clements, Fidel Danieli, Robert DeLuce, Alfred S. Drake, and Philip Noer. There are also five handwritten personal diaries by Peter Krasnow.

Personal business records include Rose Krasnow's bank book from 1980, Peter Krasnow's naturalization certificate and passport, an inventory of paintings on index cards, tax applications for the Peter Krasnow Arts Foundation, materials relating to Peter Krasnow's estate and the purchase of his artwork, and various receipts.

Printed materials include exhibition catalogs and announcements, clippings, bound books, magazines and journals, a Chicago Society of Artists block print calendar, and two printed posters from Peter Krasnow's exhibit at the Galerie Pierre in 1934.

Artwork is mostly by Peter Krasnow, and includes five sketchbooks, sketches and drawings, watercolors, preliminary studies in oil, and prints.

Photographs include personal photographs, photographs of major sculpture projects in progress, and artwork. Personal photographs are of Peter and Rose, family members, and friends, as well as a few scattered images of landscapes and architecture, possibly travel photographs. There are also photographs of Edward and Flora Weston. There are three photograph albums, one contains images of Krasnow's relief sculptures for the Sinai Temple's Kohn Chapel. Two photograph albums were compliled by Susan Ehrlich for Peter and Rose Krasnow. Also found are photographs of works of art. Some of the photographs in the papers were taken by Dan Budnik.
Arrangement:
The collection is arranged as 9 series:

Series 1: Biographical Materials, circa 1942-1983 (Boxes 1, 6; 7 folders)

Series 2: Correspondence, circa 1930-1984 (Box 1; 0.4 linear feet)

Series 3: Writings and Notes, circa 1916-1980 (Boxes 1-2; 1.3 linear feet)

Series 4: Diaries, circa 1955-1968 (Box 2-3; 5 folders)

Series 5: Personal Business Records, circa 1914-1982 (Box 3; 0.4 linear feet)

Series 6: Printed Materials, circa 1922-1981 (Boxes 3-4 and OV 9; 1.1 linear feet)

Series 7: Artwork, circa 1918-1980 (Boxes 4-6 and OV 7-8, 10; 1.5 linear feet)

Series 8: Sketchbooks, circa 1918-1973 (Box 5; 5 folders)

Series 9: Photographs, circa 1914-1981 (Boxes 5-6; 0.6 linear feet)
Biographical Note:
Peter Krasnow (1886-1979) was a painter, sculptor, and printmaker who lived and worked primarily in Southern California. His wife, Rose Krasnow (1885-1984), was a prolific writer of poems, short stories, and plays.

Peter Krasnow was born on August 20, 1886 in the Ukraine, Russia to Jewish parents. His father's work as an interior designer inspired Krasnow's interest in art.

In 1907, Krasnow emigrated to the United States, first living in Boston. He moved to Chicago in 1908 to attend the Art Institute of Chicago, where he met his future wife, Rose Bloom. To support himself during his studies, Krasnow worked as a security officer and performed other manual jobs. He graduated from the Art Institute of Chicago in 1916 and married Rose that same year.

The Krasnows moved to New York in 1919. In New York, Krasnow experienced some artistic success, participating in group and solo exhibitions at the Whitney Studio Club. During this time period, Krasnow often painted city scenes using a dark color palette.

In 1922, the Krasnows moved to Los Angeles, California. Krasnow built a studio near Glendale in 1923, on land purchased from photographer and friend Edward Weston. The studio also served as the Krasnows' main residence for the rest of their lives. In 1923 in Los Angeles, Krasnow exhibited with the Group of Independent Artists, which included Stanton Macdonald-Wright, Boris Deutsch, Nick Brigante, Ben Berlin, and other noteworthy artists. During his first years in California, Krasnow mostly created watercolor paintings, including a series of landscapes, using a lighter color palette than his earlier works. In the 1920s, Krasnow also accepted commissions for carved wood reliefs at the Temple Emmanu-El in San Francisco and the Sinai Temple in Los Angeles.

Krasnow received a grant in 1931, and he and Rose temporarily relocated to the Dordogne region of France, where they lived until 1934. During this time, Krasnow painted a series of watercolors and paintings of the French landscape. Before returning to the United States, Krasnow exhibited these landscapes at the Galerie Pierre.

After returning to California, Krasnow began creating carved wood sculptures, which he named 'demountables,' often using wood from trees on his property. Krasnow created these sculptures to celebrate the organic shapes inherent in wood.

In 1934, Krasnow returned to painting, this time creating bright, colorful, geometric designs which often incorporated symbolism from his Jewish heritage. Krasnow focused on these paintings through the remaining years of his life. In 1977, Krasnow received a fellowship from the National Endowment for the Arts.

Peter Krasnow died on October 30, 1979 in Los Angeles. Rose Krasnow died five years later, in 1984.
Provenance:
The Peter and Rose Krasnow papers were donated in several increments between 1976 and 1998 by Peter Krasnow, the Estate of Peter Krasnow, and the Peter and Rose Krasnow Foundation.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Peter and Rose Krasnow papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Occupation:
Painters -- California -- Los Angeles  Search this
Topic:
Wood sculpture  Search this
Jewish artists  Search this
Printmakers -- California -- Los Angeles  Search this
Sculptors -- California -- Los Angeles  Search this
Genre/Form:
Sketchbooks
Photographs
Sketches
Diaries
Poems
Notes
Essays
Short stories
Prints
Transcripts
Sound recordings
Citation:
Peter and Rose Krasnow papers, 1914-1984. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.kraspete
See more items in:
Peter and Rose Krasnow papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-kraspete
Online Media:

Artwork

Collection Creator:
Ladd, Anna Coleman, 1878-1939 (sculptor)  Search this
Extent:
0.2 Linear feet (Box 2, 6, OV 7)
Type:
Archival materials
Date:
1901-1928
Scope and Contents note:
Art work consists of sketchbooks, drawings, and a small plaster relief sculpture by Anna Coleman Ladd. Art work by others includes a drawing of Mademoiselle Monnier by E. Briant, a watercolor sketch by E. Hunter, and a cut-out silhouette of a woman.
Arrangement note:
This series has been scanned in its entirety.
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The Anna Coleman Ladd papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Anna Coleman Ladd papers, 1881-1950. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.laddanna, Series 6
See more items in:
Anna Coleman Ladd papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-laddanna-ref146

Plaster Relief Sculpture by Anna Coleman Ladd

Collection Creator:
Ladd, Anna Coleman, 1878-1939 (sculptor)  Search this
Container:
Box 2, Folder 64
Type:
Archival materials
Date:
circa 1910
Scope and Contents note:
Oversized material housed in Box 6
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The Anna Coleman Ladd papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Anna Coleman Ladd papers, 1881-1950. Archives of American Art, Smithsonian Institution.
See more items in:
Anna Coleman Ladd papers
Anna Coleman Ladd papers / Series 6: Artwork
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-laddanna-ref152

Oversized Drawings and Oversized Relief Sculpture

Collection Creator:
Ladd, Anna Coleman, 1878-1939 (sculptor)  Search this
Container:
Box 6
Type:
Archival materials
Date:
circa 1910
Scope and Contents note:
Oversized material scanned with Box 2, Folder 62, 64
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The Anna Coleman Ladd papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Anna Coleman Ladd papers, 1881-1950. Archives of American Art, Smithsonian Institution.
See more items in:
Anna Coleman Ladd papers
Anna Coleman Ladd papers / Series 6: Artwork
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-laddanna-ref154

Relief Sculpture

Collection Creator:
Ladd, Anna Coleman, 1878-1939 (sculptor)  Search this
Container:
Box 5, Folder 14
Type:
Archival materials
Date:
circa 1920s-1930s
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The Anna Coleman Ladd papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Anna Coleman Ladd papers, 1881-1950. Archives of American Art, Smithsonian Institution.
See more items in:
Anna Coleman Ladd papers
Anna Coleman Ladd papers / Series 10: Photographs
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-laddanna-ref268

Relief Sculpture

Collection Creator:
Ladd, Anna Coleman, 1878-1939 (sculptor)  Search this
Container:
Box 5, Folder 15
Type:
Archival materials
Date:
circa 1920s-1930s
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The Anna Coleman Ladd papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Anna Coleman Ladd papers, 1881-1950. Archives of American Art, Smithsonian Institution.
See more items in:
Anna Coleman Ladd papers
Anna Coleman Ladd papers / Series 10: Photographs
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-laddanna-ref862

Diaries

Collection Creator:
Ladd, Anna Coleman, 1878-1939 (sculptor)  Search this
Extent:
2 Folders (Box 2)
Type:
Archival materials
Date:
1903-1912
Scope and Contents note:
The diaries contain brief annotations describing Ladd's daily activities. The diary dated 1903-1905 also contains a list of relief sculptures. The other diary has a hand-worked suede cover, and primarily annotates daily activities in 1911. There is also a page of annotations describing activities dating from January 20 to 27, 1912, with an additional page listing names.
Arrangement note:
This series has been partially scanned. The diary dating from 1903-1905 has not been scanned due to the fragility of the document.
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The Anna Coleman Ladd papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Anna Coleman Ladd papers, 1881-1950. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.laddanna, Series 3
See more items in:
Anna Coleman Ladd papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-laddanna-ref91

The Zorach Family papers

Creator:
Zorach Family  Search this
Names:
Art Students League (New York, N.Y.)  Search this
Brooklyn Museum  Search this
Adams, Ansel, 1902-1984  Search this
Cunningham, Imogen, 1883-1976  Search this
Ipcar, Dahlov Zorach, 1917-  Search this
Newman, Arnold, 1918-2006  Search this
Partridge, Roi, 1888-1984  Search this
Zorach, Marguerite, 1887-1968  Search this
Zorach, Tessim  Search this
Zorach, William, 1887-1966  Search this
Extent:
4.4 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Prints
Articles
Sketchbooks
Photographs
Drawings
Scrapbooks
Notes
Writings
Date:
1900-1987
Summary:
The Zorach Family papers measure 4.4 linear feet and consist of materials relating to the lives and careers of sculptor and painter William Zorach, his wife painter and weaver Marguerite, and their children, painter and multi-media artist Dahlov Ipcar and collector and art dealer Tessim Zorach. The bulk of the papers consists of letters to Tessim regarding his parent's artwork. Additional materials include scattered letters to William Zorach; writings and notes by William, Marguerite, and Tessim; a sketchbook and drawings by William; prints by Marguerite; Marguerite's scrapbook; printed materials; and photographs of the Zorach family and of William Zorach in his studio and at work.
Scope and Content Note:
The Zorach Family papers measure 4.4 linear feet and consist of materials relating to the lives and careers of sculptor and painter William Zorach, his wife painter and weaver Marguerite, and their children, painter and multi-media artist Dahlov Ipcar and collector and art dealer Tessim Zorach. The bulk of the papers consists of letters to Tessim regarding his parent's artwork. Additional materials include scattered letters to William Zorach; writings and notes by William, Marguerite, and Tessim; a sketchbook and drawings by William; prints by Marguerite; Marguerite's scrapbook; printed materials; and photographs of the Zorach family and of William Zorach in his studio and at work.

The majority of correspondence is between Tessim Zorach and various museums and galleries concerning exhibitions and donations of his parents' works of art. There are scattered letters to William Zorach among the correspondence. Business records consist of materials relating to the Collection of the Zorach Children, including lists of works of art by the Zorach's, a file relating to an exhibition of Zorach artwork at the Brooklyn Museum, and photographs of works of art considered for donation.

Writings and Notes include a typescript of an article written by Marguerite Zorach, writings by William Zorach, a typescript of Young Poems by William and Marguerite, as well as articles written by others about the Zorachs. Artwork by Marguerite Zorach includes two prints and a tracing. Also found is one sketchbook, and additional drawings by William Zorach. There is one unsigned lithograph.

The majority of exhibition announcements, catalogs, and clippings concern William and Marguerite Zorach although there are two announcements for Dahlov Ipcar. There is one scrapbook of clippings about Marguerite.

The papers include photographs of Marguerite and William Zorach, their parents, baby photos of Tessim and Dahlov, family pictures of the Zorachs, and of Marguerite and William in their studios. There are several folders of William Zorach working in his studios and additional photos of him carving a relief sculpture and a sculpture for the Southwest Bank. Most of these photographs contain detailed annotations written by William Zorach about the work. There is one folder of photographs of William in France in 1910-1911, including one of Zorach in Roi Partridge's studio. There is one photograph of Zorach taken by Ansel Adams in Yosemite, a photo of Zorach working by Arnold Newman, and several taken by Imogen Cunnigham.

Other photographs are of works of art, most of which depict William's works.

Artifacts include Marguerite's batik tools and approximately fifty commercially made printing blocks.
Arrangement:
The collection is arranged into 9 series:

Series 1: Biographical Information, circa 1907-1969 (Box 1, 6; 3 folders)

Series 2: Correspondence, 1922-1982 (Box 1-2; 1.75 linear feet)

Series 3: Business Records, 1967-1971, circa 1960s-1970s (Box 2-3; 0.3 linear feet)

Series 4: Writings and Notes, circa 1930s-1973, 1987 (Box 3; 8 folders)

Series 5: Artworks, 1900-circa 1920s (Box 3, 6; 12 folders)

Series 6: Scrapbooks, 1922-1953 (Box 3; 1 folder)

Series 7: Printed Material, 1912-1982 (Box 3; 0.25 linear feet)

Series 8: Photographs, 1908-1966 (Box 3-5; 1.0 linear feet)

Series 9: Artifacts, circa 1910s, circa 1950s (Box 4; 0.5 linear feet)
Biographical Note:
William Zorach (1887-1966) was a modernist painter and sculptor working primarily in New York city, along with his wife Marguerite (1887-1968) who worked as a fauvist painter, printmaker, and textile artist. Their children were painter Dahlov Ipcar (1917-) and art collector Tessim Zorach (1915-1995.)

Born in Lithuania, William Zorach immigrated to the United States where his family settled in Cleveland, Ohio. An early interest in art led to a printmaking apprenticeship. He then moved to New York City and enrolled in the National Academy of Design where he studied painting and drawing. In 1910, Zorach traveled to Paris to study and where he met his wife Marguerite Thompson at the La Palette art school. Marguerite grew up in Fresno, California and studied art at Stanford University. Both artists were heavily influenced by the fauvist and cubist art movements.

Returning to America, Marguerite and William married and both continued to create and experiment with varied media. Their paintings were featured in the 1913 New York City Armory Show and they are credited with being among the first artists to introduce European modernist styles to American modernism. The Zorachs were very close both as a couple and as working active artists.

In the 1920s, Marguerite began to experiment with textiles and created large, fine art tapestries and hooked rugs. Also, she used batik dying techniques on fabrics. William also expanded his genre by creating direct sculpture in 1918, which would become his primary medium.

In 1915, William and Marguerite started a family with their son, Tessim. Two years later, their daughter Dahlov was born. The Zorachs divided the year and lived in New York City, New Hampshire, and Massachusetts. In 1923, the family bought a farm on Georgetown Island, Maine where they lived, worked, and entertained friends.

Dahlov and Tessim were exposed to art from an early age. Dahlov showed artistic promise as a child and her parents supported her creativity by allowing her to express herself without formal training. Dahlov pursued painting and later became an illustrator for children's books. Additionally, she wrote fantasy novels and short stories. Dahlov married Adolf Ipcar in 1936. Like the rest of his family, Tessim Zorach developed an interest of art and along with his wife Peggy, he amassed a large private collection of ancient to modern art.

William and Marguerite continued to sculpt and paint until their deaths in 1966 and 1968, respectively.

Together, Dahlov and Tessim established the Collection of the Zorach Children which coordinated donations of their parents' art to many museums throughout the United States and the world. The artwork of both artists is found in the collections of the Metropolitan Museum of Art, Brooklyn Museum, Whitney Museum of American Art, Delaware Art Museum, Museum of Fine Arts, Boston, Farnsworth Art Museum, Portland Museum of Art, National Gallery of Art, National Portrait Gallery and the Smithsonian American Art Museum, The Philips Collection, and educational institutions such as Colby College, University of Vermont, Williams College, Bowdoin College, and the University of Virginia. In addition William has works associated with many public buildings, among them: Radio City Music Hall, New York City Municipal Court, the U.S. Post Office in Washington D.C. as well as Farleigh Dickinson University.
Related Material:
The Archives of American Art holds the Dahlov Ipcar papers, 1906-1997. Also found is one oral history interview with William Zorach conducted by by John D. Morse on April 2, 1959 and an oral history interview with Dahlov Ipcar conducted by Robert F. Brown on November 13, 1979.

The bulk of William Zorach's papers are held by the Library of Congress.
Separated Material:
The Archives of American Art also holds material lent for microfilming on reels NY59-1-NY59-4 and NY59-19. Loaned materials were returned to the lender and are now held by the Library of Congress, Manuscript Division. This material is not described in the collection container inventory or finding aid.
Provenance:
William Zorach lent papers for microfilming to the Archives of American Art in 1959. Tessim Zorach donated materials between 1976-1987.
Restrictions:
Use of originals requires an appointment.
Rights:
The Zorach Family papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Occupation:
Weavers  Search this
Topic:
Art -- Collectors and collecting -- New York (State) -- New York  Search this
Art, American  Search this
Art dealers -- New York (State) -- New York  Search this
Artist couples  Search this
Painters -- New York (State) -- New York  Search this
Sculptors -- New York (State) -- New York  Search this
Women painters -- New York (State) -- New York  Search this
Artists' studios -- Photographs  Search this
Works of art  Search this
Genre/Form:
Interviews
Prints
Articles
Sketchbooks
Photographs
Drawings
Scrapbooks
Notes
Writings
Citation:
The Zorach Family papers, 1900-1987. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.zorazora
See more items in:
The Zorach Family papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-zorazora

Isabel T. Kelly collection of photographs of Totonac people and archeological sites in Mexico

Photographer:
Kelly, Isabel T. (Isabel Truesdell), 1906-  Search this
Done, Otto  Search this
Guzman, Elena  Search this
Harris, Bertha  Search this
Mcdonald, John  Search this
Smisor, George T.  Search this
Collector:
Kelly, Isabel T. (Isabel Truesdell), 1906-  Search this
Names:
Smithsonian Institution. Institute of Social Anthropology  Search this
Extent:
75 Mounted prints (silver gelatin)
Culture:
Piaroa  Search this
Negritos  Search this
Totonac Indians  Search this
Type:
Collection descriptions
Archival materials
Mounted prints
Photographs
Place:
Tajín Site (Mexico)
Mexico -- Antiquities
Tajín (Mexico)
Papantla de Olarte (Mexico)
Date:
circa 1947-1948
Scope and Contents note:
Photographs made by Isabel T. Kelly in Tajin, Papantla, and elsewhere in Mexico. There are images of dances and dancers (including Volador "Flying" dance, Guagua, and Negrito dances), Totonac people, a Totonac wedding, and pyramids and relief sculpture at El Tajin Site. The photographs are enlarged prints, mounted and signed, that were made for an exhibit. In part, the images relate to work of the Institute of Social Anthropology and include photographs made by Isabel T. Kelly, George T. Smisor, Done Otto, Elena Guzman, Bertha B. Harris, and John McDonald; in some cases, multiple photographers documented the same event.
Biographical/Historical note:
Isabel Truesdell Kelly (1906-1983) was an archeologist and social anthropologist who specialized in Mexican cultures and prehistory. Born in Santa Cruz, California, she developed a long-standing scholarly interest in anthropology while an undergraduate student at the University of California at Berkeley (UCB). She earned her BA (1926), MA (1927), and PhD (1932) in anthropology at UCB. From 1932-1934, Kelly conducted fieldwork with the Southern Paiute as a National Research Fellow in the Biological Sciences. She then went to Mexico as a research associate under the direction of Carl Sauer and Alfred Kroeber; while there, she directed archeological investigations in Culiacan, Sinaloa. In 1936, she returned to UCB as Carl Sauer's teaching assistant and then conducted research with the Gila Pueblo Archeological Foundation in 1937. With minimal funding from UCB's Anthropology Department, Kelly returned to Mexico for archeological reconnaisance in 1939. She gained Mexican residency in 1940, finally settling in Tepepan. In 1946, Kelly became Ethnologist-in-Charge of the Smithsonian's Institute of Social Anthropology (ISA) Mexico City office; she taught and conducted research among the Totonac Indians in Veracruz and conducted health care research in El Salvador and Mexico. From 1952-1960, Kelly worked with the Institute of Inter-American Affairs (forerunner to the Agency for International Development), studying in Mexico, Bolivia, and Pakistan. In 1960, she returned to research in Mexico with the sponsorship of the Rockefeller Foundation, Wenner-Gren Foundation, and National Geographic Society.
Local Call Number(s):
NAA Photo Lot 80-32
Location of Other Archival Materials:
Totonac artifacts collected by Kelly held in the Department of Anthropology collections in accession 365366.
The National Anthropological Archives holds Institute of Social Anthropology photographs (Photo Lot 4623) and the ISA records.
Restrictions:
The collection is open for research.

Access to the collection requires an appointment.
Rights:
Contact the repository for terms of use.
Topic:
Dance  Search this
Flying dance  Search this
Genre/Form:
Photographs
Citation:
Photo lot 80-32, Isabel T. Kelly collection of photographs of Totonac people and archeological sites in Mexico, National Anthropological Archives, Smithsonian Institution
Identifier:
NAA.PhotoLot.80-32
Archival Repository:
National Anthropological Archives
EDAN-URL:
ead_collection:sova-naa-photolot-80-32

[Louisa Farrand Wood Garden]: closeup of escutcheon from a lamppost at St. Martin in the Fields in London, mentioned in write up of garden in Behind Those Garden Walls.

Photographer:
Engle, Corliss Knapp  Search this
Collection Creator:
Garden Club of America  Search this
Extent:
1 Slide (col., 35 mm. slide)
Type:
Archival materials
Slides
Place:
Wood Garden (Savannah, Ga.)
United States of America -- Georgia -- Chatham County -- Savannah
Date:
1990 Feb.
Collection Restrictions:
Access to original images by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens.
Topic:
Gardens -- Georgia -- Savannah  Search this
Relief (Sculpture)  Search this
Sculpture  Search this
Collection Citation:
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Identifier:
AAG.GCA, Item GA168005
See more items in:
The Garden Club of America collection
The Garden Club of America collection / Series 1: United States Garden Images / Georgia / GA168: Savannah -- Louisa Farrand Wood Garden
Archival Repository:
Archives of American Gardens
EDAN-URL:
ead_component:sova-aag-gca-ref23967

Arcady

Photographer:
Weller, Eleanor C.  Search this
Collection Creator:
Garden Club of America  Search this
Extent:
1 Slides (photographs) (col., 35mm.)
Type:
Archival materials
Slides (photographs)
Place:
Arcady (Montecito, California)
United States of America -- California -- Santa Barbara County -- Montecito
Date:
05/01/1985
Collection Restrictions:
Access to original images by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens.
Topic:
Summer  Search this
Rocks  Search this
Relief (Sculpture)  Search this
Fountains  Search this
Gardens -- California -- Montecito  Search this
Genre/Form:
Slides (photographs)
Collection Citation:
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Identifier:
AAG.GCA, Item CA070013
See more items in:
The Garden Club of America collection
The Garden Club of America collection / Series 1: United States Garden Images / California / CA070: Montecito -- Arcady
Archival Repository:
Archives of American Gardens
EDAN-URL:
ead_component:sova-aag-gca-ref25073

Jasmine Hill: sculpture and circular pool.

Photographer:
Weller, Eleanor C.  Search this
Collection Creator:
Garden Club of America  Search this
Extent:
1 Slide (col., 35 mm. slide.)
Type:
Archival materials
Slides
Place:
Jasmine Hill -- Alabama -- Montgomery
United States of America -- Alabama -- Montgomery County -- Montgomery
Date:
1986 Mar.
Collection Restrictions:
Access to original images by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens.
Topic:
Gardens -- Alabama -- Montgomery  Search this
Relief (Sculpture)  Search this
Ponds  Search this
Sculpture  Search this
Niches (Architecture)  Search this
Collection Citation:
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Identifier:
AAG.GCA, Item AL010022
See more items in:
The Garden Club of America collection
The Garden Club of America collection / Series 1: United States Garden Images / Alabama / AL010: Montgomery -- Jasmine Hill
Archival Repository:
Archives of American Gardens
EDAN-URL:
ead_component:sova-aag-gca-ref5022

[El Mardon]: driveway.

Photographer:
DuBois, Suzanne  Search this
Collection Creator:
Garden Club of America  Search this
Extent:
1 Slide (col., 35 mm.)
Type:
Archival materials
Slides
Place:
El Mardon (Colorado Springs, Colorado)
United States of America -- Colorado -- El Paso County -- Colorado Springs
Date:
1997 Aug.
Collection Restrictions:
Access to original images by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens.
Topic:
Gardens -- Colorado -- Colorado Springs  Search this
Walls  Search this
Driveways  Search this
Relief (Sculpture)  Search this
Shrubs  Search this
Trees  Search this
Sculpture  Search this
Collection Citation:
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Identifier:
AAG.GCA, Item CO029001
See more items in:
The Garden Club of America collection
The Garden Club of America collection / Series 1: United States Garden Images / Colorado / CO029: Colorado Springs -- El Mardon
Archival Repository:
Archives of American Gardens
EDAN-URL:
ead_component:sova-aag-gca-ref5798

[El Mardon]: rhino sculpture on entrance driveway stucco wall.

Photographer:
DuBois, Suzanne  Search this
Collection Creator:
Garden Club of America  Search this
Extent:
1 Slide (col., 35 mm.)
Type:
Archival materials
Slides
Place:
El Mardon (Colorado Springs, Colorado)
United States of America -- Colorado -- El Paso County -- Colorado Springs
Date:
1997 Aug.
Collection Restrictions:
Access to original images by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens.
Topic:
Gardens -- Colorado -- Colorado Springs  Search this
Walls  Search this
Driveways  Search this
Relief (Sculpture)  Search this
Shrubs  Search this
Trees  Search this
Sculpture  Search this
Animal sculpture  Search this
Evergreens  Search this
Collection Citation:
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Identifier:
AAG.GCA, Item CO029002
See more items in:
The Garden Club of America collection
The Garden Club of America collection / Series 1: United States Garden Images / Colorado / CO029: Colorado Springs -- El Mardon
Archival Repository:
Archives of American Gardens
EDAN-URL:
ead_component:sova-aag-gca-ref5799

[Dorothy's Garden]: wall fountain and relief.

Photographer:
Shabica, Jonathan  Search this
Collection Creator:
Garden Club of America  Search this
Extent:
1 Slide (col., 35 mm.)
Type:
Archival materials
Slides
Place:
Dorothy's Garden (Winnetka, Ill.)
United States of America -- Illinois -- Cook County -- Winnetka
Date:
1997 Jun.
Collection Restrictions:
Access to original images by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens.
Topic:
Gardens -- Illinois -- Winnetka  Search this
Wall fountains  Search this
Walls  Search this
Relief (Sculpture)  Search this
Terra-cotta  Search this
Climbing plants  Search this
Collection Citation:
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Identifier:
AAG.GCA, Item IL102008
See more items in:
The Garden Club of America collection
The Garden Club of America collection / Series 1: United States Garden Images / Illinois / IL102: Winnetka -- Dorothy's Garden
Archival Repository:
Archives of American Gardens
EDAN-URL:
ead_component:sova-aag-gca-ref7139

Naqsh-i Rustam (Iran): Sasanian Relief Showing the Investiture of Ardashir I by the God Ahura Mazda (Hormizd)

Topic:
Early Photography of Iran
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
Collection Source:
Blake, Marion Elizabeth  Search this
Extent:
1 Glass negative (b&w, --.- cm. x --.- cm.)
Type:
Archival materials
Glass negatives
Place:
Asia
Iran
Naqsh-i Rustam (Iran)
Date:
1900-1905
Scope and Contents:
"The relief is the first one from the left in the site, marking the precedence of the Sassanian dynasty. The photograph is most probably taken in the mid-day sun as the deep shadows under the horses - particularly that of the king - give volume to the relief." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "1183."
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is broken."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 15.11: Sassanian relief." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Arrangement:
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 15."
Biographical / Historical:
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Local Numbers:
FSA A.4 2.12.GN.15.11
General:
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Topic:
Ancient Near Eastern Art  Search this
Animals in art  Search this
headgear  Search this
Relief (Sculpture)  Search this
Royalty (Nobility)  Search this
Sassanids  Search this
Genre/Form:
Glass negatives
Collection Citation:
The Myron Bement Smith Collection. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C.
Identifier:
FSA.A.04, Item FSA A.4 2.12.GN.15.11
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
EDAN-URL:
ead_component:sova-fsa-a-04-ref10095

Persepolis (Iran): Tomb of Artaxerxes II Mnemon (Tomb V)

Topic:
Early Photography of Iran
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
Collection Source:
Blake, Marion Elizabeth  Search this
Extent:
1 Glass negative (b&w, 23.7 cm. x 17.9 cm.)
Type:
Archival materials
Glass negatives
Place:
Asia
Iran
Persepolis (Iran)
Date:
1902-1905
Scope and Contents:
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "The image is a copy print of a photograph."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "81."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) not readable.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 29.2: Fars. Persepolis." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Arrangement:
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 29."
Biographical / Historical:
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Local Numbers:
FSA A.4 2.12.GN.29.02
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:
Ancient Near Eastern Art  Search this
Architecture  Search this
Relief (Sculpture)  Search this
Genre/Form:
Glass negatives
Collection Citation:
The Myron Bement Smith Collection. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C.
Identifier:
FSA.A.04, Item FSA A.4 2.12.GN.29.02
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
EDAN-URL:
ead_component:sova-fsa-a-04-ref10228

Naqsh-i Rustam (Iran): Achaemenid Tomb of Xerxes

Topic:
Early Photography of Iran
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
Collection Source:
Blake, Marion Elizabeth  Search this
Extent:
1 Glass negative (b&w, 23.9 cm. x 17.9 cm.)
Type:
Archival materials
Glass negatives
Place:
Asia
Iran
Naqsh-i Rustam (Iran)
Date:
1902-1905
Scope and Contents:
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "The sky is covered with brownish paper. The area between the paper and the horizon line is filled with black ink (on the emulsion side). On the lower half of the negative an imprint of what looks like ink around five columns of Persepolis - from another photograph of that scene - is visible, which is most probably due to the original storing of the two negatives on top of one another."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "850."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "195."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 29.4: Fars. Persepolis or Naqsh-i Rustam." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Arrangement:
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 29."
Biographical / Historical:
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Local Numbers:
FSA A.4 2.12.GN.29.04
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
Genre/Form:
Glass negatives
Collection Citation:
The Myron Bement Smith Collection. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C.
Identifier:
FSA.A.04, Item FSA A.4 2.12.GN.29.04
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
EDAN-URL:
ead_component:sova-fsa-a-04-ref10230

Naqsh-i Rustam (Iran): Two Sasanian Reliefs Depicting the Equestrian Combat of King Bahram II (right) and the Triumph of Shapur I over Valerian (left)

Topic:
Early Photography of Iran
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
Collection Source:
Blake, Marion Elizabeth  Search this
Extent:
1 Glass negative (b&w, 23.7 cm. x 17.8 cm.)
Type:
Archival materials
Glass negatives
Place:
Asia
Iran
Naqsh-i Rustam (Iran)
Date:
1902-1905
Scope and Contents:
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is in remarkable condition. The image is very well exposed and the glass is very thin compared to the other negatives of the same series."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "572."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 29.5: Fars. Persepolis or Naqsh-i Rustam." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Arrangement:
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 29."
Biographical / Historical:
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Local Numbers:
FSA A.4 2.12.GN.29.05
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
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. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C.
Identifier:
FSA.A.04, Item FSA A.4 2.12.GN.29.05
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
EDAN-URL:
ead_component:sova-fsa-a-04-ref10231

Persepolis (Iran): Tachara Palace (Palace of Darius), Central Facade of Southern Stairway: View of Relief Picturing Persian Guards Flanking Xerxes Inscription, XPcb

Topic:
Early Photography of Iran
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
Collection Source:
Blake, Marion Elizabeth  Search this
Extent:
1 Glass negative (b&w, 23.6 cm. x 17.7 cm.)
Type:
Archival materials
Glass negatives
Place:
Asia
Iran
Persepolis (Iran)
Date:
1902-1905
Scope and Contents:
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "174."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1668."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 29.3: (P) [black-and-white print on hand]. Fars. Persepolis. Takht-i Jamshid." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Arrangement:
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 29."
Biographical / Historical:
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Local Numbers:
FSA A.4 2.12.GN.29.07
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:
Ancient Near Eastern Art  Search this
Architecture  Search this
Achaemenian inscriptions  Search this
Architecture  Search this
Cuneiform inscriptions  Search this
headgear  Search this
Inscriptions  Search this
Old Persian inscriptions  Search this
Relief (Sculpture)  Search this
Textile design  Search this
Genre/Form:
Glass negatives
Collection Citation:
The Myron Bement Smith Collection. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C.
Identifier:
FSA.A.04, Item FSA A.4 2.12.GN.29.07
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
EDAN-URL:
ead_component:sova-fsa-a-04-ref10233

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