Collection is open for research. Mounted slides are in cold storage; digital surrogates are preferred for access. One week's notice is required prior to access originals.
Collection Rights:
Permission to reproduce and publish an item from the Archives is coordinated through the Freer Gallery of Art and Arthur M. Sackler Gallery's Rights and Reproductions department. Please contact the Archives in order to initiate this process.
Collection Citation:
Hans C. and Sonia P. Seherr-Thoss Photographs of Islamic Architecture. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Gift of Sonia P. Seherr-Thoss, 2001.
Bibliographical Abbreviations for Corpus of Seljuk Objects
Container:
Box 1 of 6
Type:
Archival materials
Collection Citation:
Smithsonian Institution Archives, Accession 01-250, Freer Gallery of Art and Arthur M. Sackler Gallery. Curatorial - Islamic Near Eastern Art, Research Files
Collection is open for research. Mounted slides are in cold storage; digital surrogates are preferred for access. One week's notice is required prior to access originals.
Collection Rights:
Permission to reproduce and publish an item from the Archives is coordinated through the Freer Gallery of Art and Arthur M. Sackler Gallery's Rights and Reproductions department. Please contact the Archives in order to initiate this process.
Collection Citation:
Hans C. and Sonia P. Seherr-Thoss Photographs of Islamic Architecture. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Gift of Sonia P. Seherr-Thoss, 2001.
Collection is open for research. Mounted slides are in cold storage; digital surrogates are preferred for access. One week's notice is required prior to access originals.
Collection Rights:
Permission to reproduce and publish an item from the Archives is coordinated through the Freer Gallery of Art and Arthur M. Sackler Gallery's Rights and Reproductions department. Please contact the Archives in order to initiate this process.
Collection Citation:
Hans C. and Sonia P. Seherr-Thoss Photographs of Islamic Architecture. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Gift of Sonia P. Seherr-Thoss, 2001.
Smithsonian Institution Archives, Accession 01-250, Freer Gallery of Art and Arthur M. Sackler Gallery. Curatorial - Islamic Near Eastern Art, Research Files
Haci Becktas Museum and other Non-Seljuk mixed media
Container:
Box 6 of 6
Type:
Archival materials
Collection Citation:
Smithsonian Institution Archives, Accession 01-250, Freer Gallery of Art and Arthur M. Sackler Gallery. Curatorial - Islamic Near Eastern Art, Research Files
Collection is open for research. Mounted slides are in cold storage; digital surrogates are preferred for access. One week's notice is required prior to access originals.
Collection Rights:
Permission to reproduce and publish an item from the Archives is coordinated through the Freer Gallery of Art and Arthur M. Sackler Gallery's Rights and Reproductions department. Please contact the Archives in order to initiate this process.
Collection Citation:
Hans C. and Sonia P. Seherr-Thoss Photographs of Islamic Architecture. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Gift of Sonia P. Seherr-Thoss, 2001.
Collection is open for research. Mounted slides are in cold storage; digital surrogates are preferred for access. One week's notice is required prior to access originals.
Collection Rights:
Permission to reproduce and publish an item from the Archives is coordinated through the Freer Gallery of Art and Arthur M. Sackler Gallery's Rights and Reproductions department. Please contact the Archives in order to initiate this process.
Collection Citation:
Hans C. and Sonia P. Seherr-Thoss Photographs of Islamic Architecture. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Gift of Sonia P. Seherr-Thoss, 2001.
"The photo - taken from afar and a slightly elevated position - shows the courtyard and the entrance iwan of the Masjid-i Shah Abd al'Azim. The Seljuk Shrine/mosque has a lengthy list of restorations during the years, a few of the most significant of which is from Qajar period. From adding minarets and tile work to restoring the other structures and shrines around the main building, works were carried out in the span of about a hundred years during the reigns of Fath Ali Shah, Nasir al-Din Shah and Muzaffar al-Din Shah Qajar. Its golden dome was added during Nasir al-Din Shah's reign, who ordered the dome to be covered in Gold covered copper sheets around 1850s. The minarets were added around 1890s. Many of the images of the building in the 1900s publications are missing the most recent addition of the minarets. The image in Bisno collection however shows the building after the addition of minarets, which puts the date around 1895-1900. Abdullah Qajar has a very similar photo. Copies of Sevruguin's many photos of the site, along with Abdullah Qajar's photos, can be found on the website of the shrine." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- On recto of the print, handwritten number in white (inked, probably by Antoin Sevruguin) reads, "85."
- On verso of the print, handwritten caption (penciled, probably by Antoin Sevruguin) in French reads, "Chahzadeh Abdoulazime."
- On verso of the print, handwritten number (penciled) reads, "23a."
Arrangement:
One of 18 albumen prints, without any apparent organization, housed in document boxes and stored on shelves.
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:
23a
B-18
FSA A.15 18
General:
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Jay Bisno Collection of Sevruguin Photographs. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington D.C. Gift of Jay Bisno, 1985
"The Seljuk Shrine/mosque has a lengthy list of restorations during the years, a few of the most significant of which is from Qajar period. From adding minarets and tile work to restoring the other structures and shrines around the main building, works were carried out in the span of about a hundred years during the reigns of Fath Ali Shah, Nasir al-Din Shah and Muzaffar al-Din Shah Qajar. Its golden dome was added during Nasir al-Din Shah's reign, who ordered the dome to be covered in Gold covered copper sheets around 1850s. The minarets were added around 1890s. Many of the images of the building in the 1900s publications are missing the most recent addition of the minarets." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "Albumen print, faded on the outer boundaries."
- Handwritten Cyrillic signature in white (inked), probably by Antoin Sevruguin reads: "Cebpróôun."
Arrangement:
Page fifty-four of an album of 99 mounted albumen prints with attractive leather covers and embossed green star-and-crescent design.
Biographical / Historical:
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Local Numbers:
FSA A2011.03 A.54a
General:
Title and Summary notes are provided by Shabnam Rahimi-Golkhandan, FSg research specialist.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Stephen Arpee Collection of Sevruguin Photographs. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington D.C.
"The Seljuk structure is the mausoleum built on the death of Tughrul the first who died in Ray in 1063. The mausoleum is built of brick and has gone through an extensive reconstruction staring from as early as 1884. The mausoleum is around 20 meters high." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "Albumen print, faded on the outer boundaries."
Arrangement:
Page fifty-six of an album of 99 mounted albumen prints with attractive leather covers and embossed green star-and-crescent design.
Biographical / Historical:
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Local Numbers:
FSA A2011.03 A.56b
General:
Title and Summary notes are provided by Shabnam Rahimi-Golkhandan, FSg research specialist.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Stephen Arpee Collection of Sevruguin Photographs. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington D.C.
Ernst Herzfeld Papers. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington D.C. Gift of Ernst Herzfeld, 1946
Ernst Herzfeld Papers. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington D.C. Gift of Ernst Herzfeld, 1946
Ernst Herzfeld Papers. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington D.C. Gift of Ernst Herzfeld, 1946
Ernst Herzfeld Papers. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington D.C. Gift of Ernst Herzfeld, 1946
Handwritten notes accompanying related print in photo file 10, vol. 1 reads, "Bisṭām. Detail of lower inscription Minaret."
Additional information from Finding Aid reads, "Subseries 4.8: Photo File 10 (2 vols.), "Persian Architecture and Landscapes," Subseries 4.10.1: vol. 1; Image No. 42 (Negative Number: 3002). Bistam, Imamzadeh Mahmud, General view. Lower inscription with date."
Arrangement:
- Glass Negatives, chronogically numbered from 1 to 5,075, originally stored in 80 wooden boxes of approximately 50 photographs each, are housed in document boxes and stored on shelves.
Local Numbers:
FSA A.6 04.GN.3002
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
Bistam (Iran): Mausoleum Complex of Sheikh Bayezid Bastami: General View from East, Showing the Entrance Iwan at the Center, Gonbad-e Ghazan Khan on the Right, with the Dome of Imamzade Muhammad Bistam Mirza and the Seljuk Minaret on the Left
Ernst Herzfeld Papers. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington D.C. Gift of Ernst Herzfeld, 1946
Ernst Herzfeld Papers. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington D.C. Gift of Ernst Herzfeld, 1946
Ernst Herzfeld Papers. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington D.C. Gift of Ernst Herzfeld, 1946
Ernst Herzfeld Papers. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington D.C. Gift of Ernst Herzfeld, 1946
