Search Results

Creator:

Brumbaugh, Thomas B. (Thomas Brendle), 1921-  Search this

Gibbs, Wolcott, 1902-1958  Search this

Faulkner, Barry, 1881-1966  Search this

Hardin, Louis  Search this

Lassaw, Ibram, 1913-2003  Search this

Rosin, Harry  Search this

Soyer, Isaac, 1902-1981  Search this

Names:

Barnes Foundation  Search this

Greenough, Horatio, 1805-1852  Search this

Rox, Henry  Search this

Thayer, Abbott Handerson, 1849-1921  Search this

White, Nelson C.  Search this

Collection Creator:

Brumbaugh, Thomas B. (Thomas Brendle), 1921-  Search this

Extent:

10 Items (Letters, written in ink, ball point, graphite, typewritter)

Type:

Archival materials

Correspondence

Date:

1941-1970

Scope and Contents:

This collection is an amalgamation of letters written and recieved by prominent figures in 19th and 20th century American art. Included in this folder are letters between the collector, Thomas Brumbaugh, and various artists, including American playwright and writer Oliver Wolcott Gibbs, mural artist Barry Faulkner, and Louis Hardin.

Arrangement:

Organized chronologically.

Biographical / Historical:

Beginning in his youth Thomas Brumbaugh collected autographed correspondence. Mr. Brumbaugh's collecting instincts resulted in a unique collaborative collection providing a glimpse into the lives of a variety of 19th and 20th century American artists, such as Abbott Thayer. Brumbaugh was a professor of fine arts at Vanderbilt University in Nashville, and author of many articles on American art and artists.

Oliver Wolcott Gibbs was an American playwright and writer who lived in New York City. He wrote for The New Yorker and worked as a humorist and theatre critic. Gibbs was a direct descendent of President Martin Van Buren.

Barry Faulkner was an American artist who studied with Abbott H. Thayer, George de Forest Brush, and Augustus Saint-Gaudens. Along with sculptor Sherry Edmundson Fry, Faulkner organized artists to train as camouflage specialists. Faulkner was born in New Hampshire, traveled to Europe as he studied art, and then returned to New York, where he began work as a mural artist. He completed "The Constitution" and "The Declaration" in 1936 for the Rotunda for the Charters of Freedom at the National Archives.

Isaac Soyer was a social realist painter from New York City who used working-class and unemployed people as the subjects in his paintings. He also painted portraits for friends, and used his friends and family as models for his work.

Louis Hardin, commonly known as "Moondog," was a blind American composer and poet who lived on the streets of New York for a large portion of his life. He wore clothes inspired by the Norse god Thor, giving him the epithet, "The Viking of 6th Avenue." Moondog was influenced by ambient noises in his environment, and Native American music.

Henry Rox was a German artist who studied in Berlin and Paris before settling in the United States in 1938, where he taught at many universities, including Mount Holyoke College. He is known for fruit and vegetable photo-sculptures.

Ibram Lassaw was an American sculptor in the 20th century. Born in Egypt to Russian parents, Lassaw grew up in Brooklyn, New York. He was influenced by Alexander Calder and Wassily Kandinsky. Lassaw created open-space sculptural abstractions with metal, and helped abstract art grow in the United States.

Harry Rosin was an American sculptor born in Philadelphia, Pennsylvania. After working around the area following his studies at the Pennsylvania Academy of Fine Arts, he traveled to Tahiti, where he married his wife. He is known for his iron sculptures.

Local Numbers:

FSA A2009.06 3

Other Archival Materials:

Thomas B. Brumbaugh research material on Abbott Handerson Thayer and other artists, 1876-1994 (bulk 1960s-1994); Also located at Archives of American Art, Smithsonian Institution.

Collection Restrictions:

Collection is open for research.

Collection Rights:

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

Topic:

Art, American  Search this

Busts  Search this

Runes  Search this

Genre/Form:

Correspondence -- 19th century

Correspondence -- 20th century

Collection Citation:

The Brumbaugh Collection of Artist Letters. FSA.A2009.06. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C.

Identifier:

FSA.A2009.06, Series FSA A2009.06 3

See more items in:

The Brumbaugh Collection of Artist Letters

Archival Repository:

Freer Gallery of Art and Arthur M. Sackler Gallery Archives

GUID:

https://n2t.net/ark:/65665/dc31267edea-4152-4518-85be-12a164d9331e

EDAN-URL:

ead_component:sova-fsa-a2009-06-ref1

Creator:

McEvoy, Ambrose, 1878-1927  Search this

Healy, G. P. A. (George Peter Alexander), 1813-1894  Search this

Johnson, Eastman, 1824-1906  Search this

Maynard, George W. (George Willoughby), 1843-1923  Search this

Moser, James Henry, 1854-1913  Search this

Names:

Mercer, Edward  Search this

Washington, George Corbin, 1789-1854  Search this

Collection Creator:

Brumbaugh, Thomas B. (Thomas Brendle), 1921-  Search this

Extent:

9 Items (Letters, written in ink, ball point, graphite)

Type:

Archival materials

Correspondence

Date:

1848-1924

Scope and Contents:

This folder is an amalgamation of letters written and recieved by prominent figures in 19th and 20th century American art. Included in the folder are letters from George P. Healy, Eastman Johnson, George W. Maynard, Ambrose McEvoy, and James Henry Moser.

Arrangement:

Organized alphabetically by author.

Biographical / Historical:

Healy was an American academic painter during the 19th century who painted mostly portraits, including a rather well-known one of Abraham Lincoln seated, which hangs in the National Portrait Gallery in Washington, D.C. He studied in Paris, and worked in Paris, Rome, and Boston. Healy was prolific, painting as many as 50 portraits in a single year, including a series of American presidents, and group pictures depicting congressmen and other famous political figures. The picture depicts Senator Daniel Webster's (MA) reply in Senate to Senator Robert Hayne (SC) in 1830. They debated the issue of states' rights and nullification, and Webster defended a strong national government, famously declaring, "The motto should not be 'Liberty first, and Union afterwards,' but 'Liberty and Union, now and forever, one and inseparable!'"

Hon. George C. Washington was born in Virginia in 1789 and died in Georgetown, D.C. in 1854. He attended Phillips Academy in Andover, Massachusetts, served in the Maryland legislature, and served several terms representing Montgomery County in Congress.

Eastman Johnson was an American painter who co-founded the Metropolitan Museum of Art. Johnson painted many influential Americans of his day, and his style was influenced by the Dutch masters, earning him the title of "The American Rembrandt."He was born in Maine in 1824, but moved to Washington, D.C., where he completed many of his portraits. Johnson lived among Native American tribes and opened a studio in New York.

George Willoughby Maynard was an American painter who started his career by completing murals in Boston's Trinity Church. He later did many murals in the Library of Congress.

Ambrose McEvoy painted figures, landscapes, and portraits in the late 19th and early 20th centuries. He was a founder-member of the National Portrait Society in England, and painted a number of portraits of soldiers and sailors, which are now in the Imperial War Museum.

Edward StanleyMercer was an English artist who studied at the Slade School of Art, along with time in Holland, Spain, and Italy. He exhibited at the Royal Academy, and was a member of both the Royal Society of Portrait Painters and the Royal Institute of Oil Painters.

In the letter, Ambrose McEvoy mentions that he has "written to Harold Speed," who was an English painter of oil and watercolor landscapes and portraits. Speed (1872-1957) studied art at the Royal Academy Schools and was elected a member of the Royal Society of Portrait Painters. Speed exhibited at the Royal Academy.

James Henry Moser was born in Ontario, Canada, who worked as an illustrator and landscape painter in oil and watercolor. In Washington, D.C., he was awarded the first Corcoran Prize by the Washington Watercolor Club. He was an art critic for the Washington Times, Post, and Herald, and did freelance illustrations for Harper's, among other publications. Mrs. Benjamin Harrison, the First Lady, purchased one of Moser's pieces, "A Sunny Morning at Salisbury Beach," to hang in the White House living room. He died in 1913 after having suffered a stroke earlier that year.

Local Numbers:

FSA A2009.06 5

Other Archival Materials:

Thomas B. Brumbaugh research material on Abbott Handerson Thayer and other artists, 1876-1994 (bulk 1960s-1994); Also located at Archives of American Art, Smithsonian Institution.

Collection Restrictions:

Collection is open for research.

Collection Rights:

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

Topic:

Art, American  Search this

Genre/Form:

Correspondence -- 19th century

Correspondence -- 20th century

Collection Citation:

The Brumbaugh Collection of Artist Letters. FSA.A2009.06. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C.

Identifier:

FSA.A2009.06, Series FSA A2009.06 5

See more items in:

The Brumbaugh Collection of Artist Letters

Archival Repository:

Freer Gallery of Art and Arthur M. Sackler Gallery Archives

GUID:

https://n2t.net/ark:/65665/dc393601999-7d3d-4e2d-8e2b-51f22faeead0

EDAN-URL:

ead_component:sova-fsa-a2009-06-ref3

Creator:

Speicher, Eugene Edward, 1883-1962  Search this

Palmer, Erastus Dow, 1817-1904  Search this

Reid, Robert, 1862-1929  Search this

Robus, Hugo, 1885-1964  Search this

Rossiter, Thomas Prichard, 1818-1871  Search this

Weber, Max, 1881-1961  Search this

Whittier, John Greenleaf, 1807-1892  Search this

Widener, P. A. B. (Peter Arrell Brown), 1834-1915  Search this

Names:

Houghton, Mifflin and Company  Search this

United States. National Park Service  Search this

Hayne, Paul Hamilton, 1830-1886  Search this

Kensett, John Frederick, 1816-1872  Search this

Collection Creator:

Brumbaugh, Thomas B. (Thomas Brendle), 1921-  Search this

Extent:

11 Items (Letters, written in ink, ball point, graphite)

1 Photograph

Type:

Archival materials

Photographs

Correspondence

Date:

1818-1847

Scope and Contents:

This folder is an amalgamation of letters written and recieved by prominent figures in 19th and 20th century American art. Included in the folder are letters by Robert Reid, Hugo Robus, Thomas Prichard Rossiter, Eugene Speicher, John Greenleaf Whittier and Peter A.B. Widener.

Arrangement:

Organized alphabetically by author.

Biographical / Historical:

Erastus D. Palmer was an American sculptor. He sculpted portrait busts and religious bas-reliefs in a style that combined neoclassical idealism and realism. His most famous sculpture is "The White Captive," which depicts a young girl who has been captured by Native Americans.

Isaac Newton Phelps Stokes was an American architect born into the wealthy Phelps Stokes family. He designed St-Paul's Chapel at Columbia University and some residential buildings in New York. Phelps Stokes also published The Iconography of Manhattan Island, a six volume work about New York City. He commissioned John Singer Sargent to paint a portrait with himself and his wife, Edith née Minturn.

Robert Reid was an American artist who studied in New England and Paris. He began by painting French peasants, but became known for his murals and stained glass designs. Some of his work can be found in the Congressional Library in Washington, D.C.

Hugo Robus was an American painter and sculpture from Ohio. He studied in the United States and Paris, and then taught at the Modern Art School in New York. He worked in a very lyrical cubist style, usually with people as his subject.

Thomas Prichard Rossiter was an American painter born in New Haven, Connecticut. He traveled throughout Europe, painting portraits along the way, and he kept a studio in Paris. He painted mostly portraits, but also completed a series of paintings depicting the life of Christ.

John Frederick Kensett was an American artist and engraver who worked in New Haven, Connecticut, and New York City.

Henry Rox was a German artist who studied in Berlin and Paris before settling in the United States in 1938, where he taught at many universities, including Mount Holyoke College. He is known for fruit and vegetable photo-sculptures.

Eugene Speicher was an American realist painter from Buffalo, New York. He attended the Art Students League, and then studied in Europe for a few years. He was considered a leading portrait artist in America at the time, favoring female subjects. Speicher won numerous awards for his work, and was appointed Director of the American Academy of Arts and Letters in 1945.

Max Weber was a Russian-born Jewish-American cubist. He studied with Matisse, Rousseau, and Picasso in Paris. Weber helped introduce cubism to America.

John Greenleaf Whittier was an American Quaker poet. Whittier was an ardent abolitionist who was extremely influenced by the doctrines of humanitarianism, compassion, and social responsibility found in Quakerism. He was a founding member of the American Anti-Slavery Society, and worked as a lobbyist. He is remembered today for his patriotic poetry, and his poems that were later turned into hymns.

Paul Hayne was an American poet who Whittier references in his letter to the publishers Houghton, Mifflin & Co. Hayne had just died, and his son, W.H. Hayne, wanted to edit his later poems for publication.

Widener (1834-1915) was an American businessman from Pennsylvania. During the Civil War, he supplied meat to the Union Army. By investing in trolley cars and public transit services, Widener became quite successful and wealthy. He was an avid art collector whose collection included works by Rembrandt, Edouard Manet, and Auguste Renoir. He is considered one of the top 100 wealthiest Americans of all time.

Local Numbers:

FSA A2009.06 6

Other Archival Materials:

Thomas B. Brumbaugh research material on Abbott Handerson Thayer and other artists, 1876-1994 (bulk 1960s-1994); Also located at Archives of American Art, Smithsonian Institution.

Collection Restrictions:

Collection is open for research.

Collection Rights:

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

Topic:

Art, American  Search this

Genre/Form:

Correspondence -- 19th century

Correspondence -- 20th century

Collection Citation:

The Brumbaugh Collection of Artist Letters. FSA.A2009.06. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C.

Identifier:

FSA.A2009.06, Series FSA A2009.06 6

See more items in:

The Brumbaugh Collection of Artist Letters

Archival Repository:

Freer Gallery of Art and Arthur M. Sackler Gallery Archives

GUID:

https://n2t.net/ark:/65665/dc3ab5429cd-d428-4427-b439-71f5316aec84

EDAN-URL:

ead_component:sova-fsa-a2009-06-ref4

Creator:

Thayer, Abbott Handerson, 1849-1921  Search this

Thayer, Gerald Handerson, 1883-1939  Search this

Names:

May, Clara Adelaide, 1872-1946  Search this

Thayer, Abbott Handerson, 1849-1921  Search this

Thayer, Gerald Handerson, 1883-1939  Search this

Thayer, Gladys, 1886 or 7-1945  Search this

Collection Creator:

Brumbaugh, Thomas B. (Thomas Brendle), 1921-  Search this

Extent:

6 Items (Letters, written in ink, graphite)

4 Items (Envelopes)

Type:

Archival materials

Correspondence

Date:

1890-1899

Scope and Contents:

This folder is an amalgamation of letters written by Abbott H. Thayer to his model and friend, Clara A. May. Also included is a thank-you letter from Thayer's son, Gerald, to May.

Arrangement:

Organized chronologically.

Biographical / Historical:

Abbott Handerson Thayer was born in Boston, Massachusetts on August 12, 1849 to a distinguished family. He moved from Boston to Brooklyn during his childhood, where he attended the National Academy of Design. Thayer often used his wife, Kate Bloede Thayer, her sister Gertrude, and his three children Mary, Gerald and Gladys as models. He also used Clara A. May as a model. His subjects included ethereal angels, landscapes, women, children, and flowers. When Kate died, Thayer's entire outlook on art and life changed. It had been Kate's family that introduced Thayer to the sense of idealism that comes from a German family who had immigrated to the United States. He had learned about the romanticism surrounding art and literature from the Bloedes, all of which encouraged the artist to paint perfectly beautiful figures. Later in life, Thayer established a permanent household in Dublin, New Hampshire, with his new wife, Emma Beach. He loved to paint the surrounding mountains and birds. Interestingly, Charles Lang Freer was one of Thayer's patrons.

Clara May was one of Thayer's models. May met Thayer at the summer colony of Dublin in New Hampshire, where the two families were neighbors. Their friendship lasted around ten years, but this friendship withered following May's marriage to Reverend Paine. Following her marriage, May no longer worked as a model for Thayer.

Gerald Thayer was one of Abbott Thayer's sons, who wrote an unfinished thank you letter to May which was sent along with Abbott's letter.

Local Numbers:

FSA A2009.06 2

Other Archival Materials:

Thomas B. Brumbaugh research material on Abbott Handerson Thayer and other artists, 1876-1994 (bulk 1960s-1994); Also located at Archives of American Art, Smithsonian Institution.

Collection Restrictions:

Collection is open for research.

Collection Rights:

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

Topic:

Art, American  Search this

Genre/Form:

Correspondence -- 19th century

Correspondence -- 20th century

Collection Citation:

The Brumbaugh Collection of Artist Letters. FSA.A2009.06. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C.

Identifier:

FSA.A2009.06, Series FSA A2009.06 2

See more items in:

The Brumbaugh Collection of Artist Letters

Archival Repository:

Freer Gallery of Art and Arthur M. Sackler Gallery Archives

GUID:

https://n2t.net/ark:/65665/dc35afeca45-c53f-417f-a250-38fe76484ba3

EDAN-URL:

ead_component:sova-fsa-a2009-06-ref6

Creator:

Meigs, Montgomery C., 1816-1892  Search this

Vanderlyn, John, 1775-1852  Search this

Jarvis, Leonard, 1781-1854  Search this

Chapman, John  Search this

Collection Creator:

Brumbaugh, Thomas B. (Thomas Brendle), 1921-  Search this

Extent:

3 Items (Letters, written in ink)

Type:

Archival materials

Correspondence

Place:

U. S. Capitol

Date:

1837-1853

Scope and Contents:

This folder houses a series of letters referencing the building and renovation of the United States Capitol Building, most of which are from architects who worked on the project. One of the contracts orders iron beams for use in extending the Capitol building in 1857, during the second remodeling.

Arrangement:

Organized chronologically.

Biographical / Historical:

General Montgomery Cunningham Meigs was Quartermaster General of the United States Army during and after the American Civil War. He was responsible for the purchase and distribution of supplies to the Union troops. Meigs was also an engineer and architect, and before and after the war, he supervised numerous projects throughout Washington, D.C. as part of the Army Corps of Engineers. He supervised the construction of wings and the dome of the Capitol building and the expansion of the General Post Office building. Meigs designed the Old Pension Office Building. His most amazing contribution to the city, however, was the Washington Aqueduct. Interestingly, it was Meigs who suggested to Abraham Lincoln that Arlington would be a good place for a cemetery. Meigs is buried there.

Leonard Jarvis was an American politician who served in Congress from 1829 to 1837. He was chairman of the Committee on Naval Affairs for some time. This contract is signed by him.

John Vanderlyn was an American neoclassicist painter who painted portraits of politicians in the early 19th century. He was commissioned by Congress in 1842 to paint the landing of Columbus. This painting was later reproduced on a stamp. This painting was commissioned for the renovation of the rotunda in the Capitol Building.

John Chapman was an American congressman who represented Pennsylvania. He worked as a judge before being elected to the House of Representatives.

Local Numbers:

FSA A2009.06 7

Other Archival Materials:

Thomas B. Brumbaugh research material on Abbott Handerson Thayer and other artists, 1876-1994 (bulk 1960s-1994); Also located at Archives of American Art, Smithsonian Institution.

Collection Restrictions:

Collection is open for research.

Collection Rights:

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

Genre/Form:

Correspondence -- 19th century

Collection Citation:

The Brumbaugh Collection of Artist Letters. FSA.A2009.06. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C.

Identifier:

FSA.A2009.06, Series FSA A2009.06 7

See more items in:

The Brumbaugh Collection of Artist Letters

Archival Repository:

Freer Gallery of Art and Arthur M. Sackler Gallery Archives

GUID:

https://n2t.net/ark:/65665/dc3136a0efb-cf6a-4728-aa98-04f1bc16238a

EDAN-URL:

ead_component:sova-fsa-a2009-06-ref7

Creator:

Sevruguin, Antoin, 1851-1933  Search this

Names:

Islamic Archives  Search this

Sevruguin, Antoin, 1851-1933  Search this

Smith, Myron Bement, 1897-1970  Search this

Collection Creator:

Smith, Myron Bement, 1897-1970  Search this

Extent:

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

Type:

Archival materials

Glass negatives

Place:

Asia

Iran

Date:

1880-1930

Scope and Contents:

- Handwritten number (inked, probably by Antoin Sevruguin) reads, "1907."

- 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 15.1: City." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]

Arrangement:

According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 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.15.01

General:

Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.

Collection Restrictions:

Collection is open for research.

Collection Rights:

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

Topic:

Landscapes  Search this

Genre/Form:

Glass negatives

Collection Citation:

The Myron Bement Smith Collection, FSA A.04. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of Katherine Dennis Smith.

Identifier:

FSA.A.04, Item FSA A.4 2.12.GN.15.01

See more items in:

Myron Bement Smith Collection

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

Archival Repository:

Freer Gallery of Art and Arthur M. Sackler Gallery Archives

GUID:

https://n2t.net/ark:/65665/dc39d57ca90-7ab6-4e57-9bcb-bee9a2b144a9

EDAN-URL:

ead_component:sova-fsa-a-04-ref10085

Creator:

Sevruguin, Antoin, 1851-1933  Search this

Names:

Islamic Archives  Search this

Kākh-i Gulistān (Tehran, Iran)  Search this

Sevruguin, Antoin, 1851-1933  Search this

Smith, Myron Bement, 1897-1970  Search this

Collection Creator:

Smith, Myron Bement, 1897-1970  Search this

Extent:

1 Glass negative (b&w, 17.8 cm. x 12.9 cm.)

Type:

Archival materials

Glass negatives

Place:

Asia

Iran

Tehran (Iran)

Date:

1880-1889

Scope and Contents:

"During the reigns of the first four kings of Qajar dynasty, what is now known as the Salam ceremony had gradually gained a special ceremonial function and was conducted with considerable care and through strict observance of specific rituals. During the ceremony the courtiers, military officials, European officials accompanied, in some cases and in the earlier days of Fath Ali Shah's reign, by the general population would attend the ceremony and paid their respects - or in this case their Nowruz greetings- to the residing Qajar King. The placement of everything from the king's hooka and small seating place on the throne to the arrangement of the different official and military groups in the garden were predetermined and following the traditions set in the earlier days of Qajar dynasty. The photo depicts a close up of part of the Salam ceremony in which the court and military officials would approach the throne's balcony and pay their respects to the king. The two figures at the back of the image and in front of the tree are Kamran Mirza - Nasir al-Din Shah's son- and Aziz al-Sultan. The figure in the foregournd - identified as Nizam al-Mulk (b.1830-d.1889) - blocks the view to the event in the background of the image which has captured the attention of Kamran Mirza and a few other attendants on either sides of the scene. The photo is most probably taken during the Salam ceremony, as part of the Nowruz festivities in the palace." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]

- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is chipped off on the right and the bottom sides."

- Myron Bement Smith handwritten caption in English reads, "47.P; Box 15.2: Military review." [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.15.02

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:

Clothing and dress  Search this

headgear  Search this

Palaces  Search this

Qajar dynasty, -- Iran, -- 1794-1925  Search this

Rites and ceremonies  Search this

Royalty (Nobility)  Search this

Genre/Form:

Glass negatives

Collection Citation:

The Myron Bement Smith Collection, FSA A.04. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of Katherine Dennis Smith.

Identifier:

FSA.A.04, Item FSA A.4 2.12.GN.15.02

See more items in:

Myron Bement Smith Collection

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

Archival Repository:

Freer Gallery of Art and Arthur M. Sackler Gallery Archives

GUID:

https://n2t.net/ark:/65665/dc3bbf3d57c-5063-443c-b957-d8b0d1af24dd

EDAN-URL:

ead_component:sova-fsa-a-04-ref10086

Creator:

Sevruguin, Antoin, 1851-1933  Search this

Names:

Islamic Archives  Search this

Kākh-i Gulistān (Tehran, Iran)  Search this

Sevruguin, Antoin, 1851-1933  Search this

Smith, Myron Bement, 1897-1970  Search this

Collection Creator:

Smith, Myron Bement, 1897-1970  Search this

Extent:

1 Glass negative (b&w, 17.8 cm. x 12.9 cm.)

Type:

Archival materials

Glass negatives

Place:

Asia

Iran

Tehran (Iran)

Date:

1880-1920

Scope and Contents:

"Talar-I Takht or Throne room of Gulistan palace housed the famous Peacock throne and was the offical reception room of the palace. The photo is taken from the middle of the room and in the opposite direction of the entrance, facing the throne at the far end. The room is depicted empty with only one attendant whose reflection is visible in the mirror to the left side the throne. The walls and tables on the either sides of the hallway are decorated with paintings and objects that could be the valuable gifts of the visitors to the Qajar court." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]

- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is chipped off on the right and the bottom sides."

- Myron Bement Smith handwritten caption in English reads, "47.P; Box 15.3: Tehran. Golestan Palace. Throne room." [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.15.03

General:

Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.

Collection Restrictions:

Collection is open for research.

Collection Rights:

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

Topic:

Palaces  Search this

Qajar dynasty, -- Iran, -- 1794-1925  Search this

Royalty (Nobility)  Search this

Thrones  Search this

Genre/Form:

Glass negatives

Collection Citation:

The Myron Bement Smith Collection, FSA A.04. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of Katherine Dennis Smith.

Identifier:

FSA.A.04, Item FSA A.4 2.12.GN.15.03

See more items in:

Myron Bement Smith Collection

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

Archival Repository:

Freer Gallery of Art and Arthur M. Sackler Gallery Archives

GUID:

https://n2t.net/ark:/65665/dc393f38261-5c88-4c92-b2d3-36fb12f0525f

EDAN-URL:

ead_component:sova-fsa-a-04-ref10087

Creator:

Sevruguin, Antoin, 1851-1933  Search this

Names:

Islamic Archives  Search this

Sevruguin, Antoin, 1851-1933  Search this

Smith, Myron Bement, 1897-1970  Search this

Collection Creator:

Smith, Myron Bement, 1897-1970  Search this

Extent:

1 Glass negative (b&w, 17.8 cm. x 12.9 cm.)

Type:

Archival materials

Glass negatives

Place:

Asia

Iran

Date:

1880-1920

Scope and Contents:

"The white spots in the background of the image are the tents of the royal camp." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]

- Myron Bement Smith handwritten caption in English reads, "47.P; Box 15.4: Mountains." [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.15.04

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:

Landscapes  Search this

Genre/Form:

Glass negatives

Collection Citation:

The Myron Bement Smith Collection, FSA A.04. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of Katherine Dennis Smith.

Identifier:

FSA.A.04, Item FSA A.4 2.12.GN.15.04

See more items in:

Myron Bement Smith Collection

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

Archival Repository:

Freer Gallery of Art and Arthur M. Sackler Gallery Archives

GUID:

https://n2t.net/ark:/65665/dc30b0e5958-7ddc-49f0-b14d-c4840a7383e1

EDAN-URL:

ead_component:sova-fsa-a-04-ref10088

Creator:

Sevruguin, Antoin, 1851-1933  Search this

Names:

Islamic Archives  Search this

Sevruguin, Antoin, 1851-1933  Search this

Smith, Myron Bement, 1897-1970  Search this

Collection Creator:

Smith, Myron Bement, 1897-1970  Search this

Extent:

1 Glass negative (b&w, 17.8 cm. x 12.9 cm.)

Type:

Archival materials

Glass negatives

Place:

Asia

Iran

Tehran (Iran)

Date:

1880-1900

Scope and Contents:

"The image depicts the canons' squad of army in Maydan-i Mashq, possibly in the midst of training. Abdul-Hussayn Farman-farma (b.1858-d. 1939) (minister of war) can be seen on horseback. Abd al-Hussayn Khan was appointed to the ministry of war in 1897 and removed from the position 1898. In 1910, he again became the minister of war and remained in the position for the next 4 years until assuming the position of chief minister in 1915. Maydan-i Mashq in Tehran was constructed during the reign of Fath Ali Shah Qajar and expanded and renovated during Nasir al-Din shah's reign and on the orders of Mirza Mohammad Khan Sipahsalar. The square was noted as the biggest one of its kind in Tehran." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]

- Myron Bement Smith handwritten caption in English reads, "47.P; Box 15.5: Military review." [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.15.05

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.

Genre/Form:

Glass negatives

Collection Citation:

The Myron Bement Smith Collection, FSA A.04. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of Katherine Dennis Smith.

Identifier:

FSA.A.04, Item FSA A.4 2.12.GN.15.05

See more items in:

Myron Bement Smith Collection

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

Archival Repository:

Freer Gallery of Art and Arthur M. Sackler Gallery Archives

GUID:

https://n2t.net/ark:/65665/dc39fac4e40-6ce2-4fb4-92ed-497f2949eb80

EDAN-URL:

ead_component:sova-fsa-a-04-ref10089

Creator:

Sevruguin, Antoin, 1851-1933  Search this

Names:

Islamic Archives  Search this

Sevruguin, Antoin, 1851-1933  Search this

Smith, Myron Bement, 1897-1970  Search this

Collection Creator:

Smith, Myron Bement, 1897-1970  Search this

Extent:

1 Glass negative (b&w, 17.6 cm. x 12.7 cm.)

Type:

Archival materials

Glass negatives

Studio portraits

Place:

Asia

Iran

Date:

1880-1920

Scope and Contents:

"Family portrait in studio. The backdrop of the studio comprise of a drape and a painted scene of railings and curtains. The three seated women, the older one sitting in the middle, are flanked by a young boy standing to their right." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]

- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The emulsion is peeling off of the surface of the glass."

- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "475) Ali Zllahis." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]

- Myron Bement Smith handwritten caption in English reads, "47.P; Box 15.6: Ali Zllahis (#435) (peeling)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]

Arrangement:

According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 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.15.06

General:

Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.

Collection Restrictions:

Collection is open for research.

Collection Rights:

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

Topic:

Clothing and dress  Search this

headgear  Search this

Portrait photography  Search this

Women  Search this

Genre/Form:

Glass negatives

Studio portraits

Collection Citation:

The Myron Bement Smith Collection, FSA A.04. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of Katherine Dennis Smith.

Identifier:

FSA.A.04, Item FSA A.4 2.12.GN.15.06

See more items in:

Myron Bement Smith Collection

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

Archival Repository:

Freer Gallery of Art and Arthur M. Sackler Gallery Archives

GUID:

https://n2t.net/ark:/65665/dc35ac793fe-0b3e-4fda-9276-4fc90d9cb0be

EDAN-URL:

ead_component:sova-fsa-a-04-ref10090

Creator:

Sevruguin, Antoin, 1851-1933  Search this

Names:

Islamic Archives  Search this

Sevruguin, Antoin, 1851-1933  Search this

Smith, Myron Bement, 1897-1970  Search this

Collection Creator:

Smith, Myron Bement, 1897-1970  Search this

Extent:

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

Type:

Archival materials

Glass negatives

Place:

Asia

Iran

Tehran (Iran)

Date:

1880-1900

Scope and Contents:

"The British embassy in Tehran was constructed by a British architect called James Wild on a piece of land acquired by the British government in 1860. The construction of the building lasted for almost sixteen years, the bulk of which was constructed from 1871 to 1876. The dome of the building - visible in the background of the image - along with some of the large glass windows, were imported from United Kingdom, the transport of which posed unforeseen problems for the completion of the building. The photograph is taken from inside the embassy's garden (south), depicting a child on horseback with an attendant. The photograph was turned into a postcard at approximately the same time." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]

- Myron Bement Smith handwritten caption in English reads, "47.P; Box 15.7: Palace. side view. (cracked)." [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.15.07

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:

Architecture  Search this

Genre/Form:

Glass negatives

Collection Citation:

The Myron Bement Smith Collection, FSA A.04. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of Katherine Dennis Smith.

Identifier:

FSA.A.04, Item FSA A.4 2.12.GN.15.07

See more items in:

Myron Bement Smith Collection

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

Archival Repository:

Freer Gallery of Art and Arthur M. Sackler Gallery Archives

GUID:

https://n2t.net/ark:/65665/dc3d80a0acf-54a8-40d7-9d93-b41bc7dc8523

EDAN-URL:

ead_component:sova-fsa-a-04-ref10091

Creator:

Sevruguin, Antoin, 1851-1933  Search this

Names:

Islamic Archives  Search this

Sevruguin, Antoin, 1851-1933  Search this

Smith, Myron Bement, 1897-1970  Search this

Collection Creator:

Smith, Myron Bement, 1897-1970  Search this

Extent:

1 Glass negative (b&w, 18 cm. x 13.1 cm.)

Type:

Archival materials

Glass negatives

Place:

Asia

Iran

Date:

1880-1930

Scope and Contents:

- Handwritten number (inked, probably by Antoin Sevruguin) reads, "986."

- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "222."

- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The sky is layered with paper. It is chipped off on the top left edge. The negative is browned all over."

- Myron Bement Smith handwritten caption in English reads, "47.P; Box 15.8: View of city." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]

Arrangement:

According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 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.15.08

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.

Topic:

Landscapes  Search this

Genre/Form:

Glass negatives

Collection Citation:

The Myron Bement Smith Collection, FSA A.04. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of Katherine Dennis Smith.

Identifier:

FSA.A.04, Item FSA A.4 2.12.GN.15.08

See more items in:

Myron Bement Smith Collection

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

Archival Repository:

Freer Gallery of Art and Arthur M. Sackler Gallery Archives

GUID:

https://n2t.net/ark:/65665/dc3675f29aa-fab9-4441-9d3e-91e3d4283a51

EDAN-URL:

ead_component:sova-fsa-a-04-ref10092

Creator:

Sevruguin, Antoin, 1851-1933  Search this

Names:

Islamic Archives  Search this

Kākh-i Gulistān (Tehran, Iran)  Search this

Sevruguin, Antoin, 1851-1933  Search this

Smith, Myron Bement, 1897-1970  Search this

Collection Creator:

Smith, Myron Bement, 1897-1970  Search this

Extent:

1 Glass negative (b&w, 17.8 cm. x 12.9 cm.)

Type:

Archival materials

Glass negatives

Place:

Asia

Iran

Tehran (Iran)

Date:

1880-1920

Scope and Contents:

"Takht-i Tavoos (Peacock Throne) is a later name of Takht-i Khurshid or the Sun Throne. Erroneously the name of the Throne as the peacock throne equated it with the famous Indian throne of Shah Jahan and Nadir's war booty from India, whereas Takht-i Khurshid - visible in this image - was ordered by Fath Ali Shah Qajar around 1800s and built by an Isfahani artist known as Haji Muhammad Hussayn Khan Sadr. The name of the throne changed to Takht-i Tavoos or the Peacock Throne after Fath Ali Shah's marriage to Tavoos Khanum, his favorite wife. The marriage was celebrated on this particular throne. In the occasion of various royal celebrations - such as Salam-i Nawruzi - the throne would be moved out of the palace and into the Iwan-i Dar al-Imara (later known as the hall of Takht-i Marmar or the marble throne) and would be the seating place of the Qajar kings of the time. Takht-i Tavoos or Peacock Throne, along with a bust of Nasir Al-Din Shah are the focal points of the photograph. In the left corner of the image, a partial silhouette of the photographer is reflected in the mirror behind the Throne. The sideview of the Throne allows for the details of metalwork on the round mirror at the far back of the throne to be visible." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]

- Handwritten number (inked, probably by Antoin Sevruguin) reads, "943."

- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is chipped off on the right and the bottom sides."

- Myron Bement Smith handwritten caption in English reads, "47.P; Box 15.9: Tehran. Golestan Palace. Throne room (broken)." [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.15.09

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:

Palaces  Search this

Qajar dynasty, -- Iran, -- 1794-1925  Search this

Royalty (Nobility)  Search this

Thrones  Search this

Genre/Form:

Glass negatives

Collection Citation:

The Myron Bement Smith Collection, FSA A.04. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of Katherine Dennis Smith.

Identifier:

FSA.A.04, Item FSA A.4 2.12.GN.15.09

See more items in:

Myron Bement Smith Collection

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

Archival Repository:

Freer Gallery of Art and Arthur M. Sackler Gallery Archives

GUID:

https://n2t.net/ark:/65665/dc353abf3da-2056-4d42-82f2-44d56e5f77df

EDAN-URL:

ead_component:sova-fsa-a-04-ref10093

Creator:

Sevruguin, Antoin, 1851-1933  Search this

Names:

Islamic Archives  Search this

Sevruguin, Antoin, 1851-1933  Search this

Smith, Myron Bement, 1897-1970  Search this

Collection Creator:

Smith, Myron Bement, 1897-1970  Search this

Extent:

1 Glass negative (b&w, 17.8 cm. x 12.5 cm.)

Type:

Archival materials

Glass negatives

Place:

Asia

Iran

Date:

1880-1920

Scope and Contents:

"The structure in the background is, most probably, a caravanserai." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]

- Handwritten number (inked, probably by Antoin Sevruguin) reads, "473."

- Faded handwritten number (inked, probably by Antoin Sevruguin) reads, "1232."

- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glasses chipped off at the top and left edge."

- Myron Bement Smith handwritten caption in English reads, "47.P; Box 15.10: Camp (?)." [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.15.10

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:

Transportation  Search this

Genre/Form:

Glass negatives

Collection Citation:

The Myron Bement Smith Collection, FSA A.04. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of Katherine Dennis Smith.

Identifier:

FSA.A.04, Item FSA A.4 2.12.GN.15.10

See more items in:

Myron Bement Smith Collection

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

Archival Repository:

Freer Gallery of Art and Arthur M. Sackler Gallery Archives

GUID:

https://n2t.net/ark:/65665/dc31b7b8f21-6aa7-4fd2-9c63-6fe9ba37d0f5

EDAN-URL:

ead_component:sova-fsa-a-04-ref10094

Creator:

Sevruguin, Antoin, 1851-1933  Search this

Names:

Islamic Archives  Search this

Sevruguin, Antoin, 1851-1933  Search this

Smith, Myron Bement, 1897-1970  Search this

Collection Creator:

Smith, Myron Bement, 1897-1970  Search this

Extent:

1 Glass negative (b&w, --.- 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, FSA A.04. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of Katherine Dennis Smith.

Identifier:

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

GUID:

https://n2t.net/ark:/65665/dc39bc7127d-1ab8-4708-b039-e89701fa4cf9

EDAN-URL:

ead_component:sova-fsa-a-04-ref10095

Creator:

Sevruguin, Antoin, 1851-1933  Search this

Names:

Islamic Archives  Search this

Sevruguin, Antoin, 1851-1933  Search this

Smith, Myron Bement, 1897-1970  Search this

Collection Creator:

Smith, Myron Bement, 1897-1970  Search this

Extent:

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

Type:

Archival materials

Glass negatives

Place:

Asia

Iran

Qazvīn (Iran)

Date:

1890-1920

Scope and Contents:

"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.

Topic:

Architecture  Search this

Religious buildings  Search this

Shrines  Search this

Genre/Form:

Glass negatives

Collection Citation:

The Myron Bement Smith Collection, FSA A.04. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of Katherine Dennis Smith.

Identifier:

FSA.A.04, Item FSA A.4 2.12.GN.15.12

See more items in:

Myron Bement Smith Collection

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

Archival Repository:

Freer Gallery of Art and Arthur M. Sackler Gallery Archives

GUID:

https://n2t.net/ark:/65665/dc3bb47e293-21cf-4932-9146-1386620eee14

EDAN-URL:

ead_component:sova-fsa-a-04-ref10096

Creator:

Sevruguin, Antoin, 1851-1933  Search this

Names:

Islamic Archives  Search this

Sevruguin, Antoin, 1851-1933  Search this

Smith, Myron Bement, 1897-1970  Search this

Collection Creator:

Smith, Myron Bement, 1897-1970  Search this

Extent:

1 Glass negative (b&w, 18.4 cm. x 23.8 cm.)

Type:

Archival materials

Glass negatives

Studio portraits

Place:

Asia

Iran

Date:

1880-1930

Scope and Contents:

- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is broken with a missing piece in the lower left corner."

- Handwritten number (inked, probably by Antoin Sevruguin) reads, "7."

- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "253) Dervish." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]

- Myron Bement Smith handwritten caption in English reads, "47.P; Box 28.7: Dervish (# 253)." [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 28."

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.28.07

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:

Clothing and dress  Search this

Dervishes  Search this

headgear  Search this

Portrait photography  Search this

Genre/Form:

Glass negatives

Studio portraits

Collection Citation:

The Myron Bement Smith Collection, FSA A.04. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of Katherine Dennis Smith.

Identifier:

FSA.A.04, Item FSA A.4 2.12.GN.28.07

See more items in:

Myron Bement Smith Collection

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

Archival Repository:

Freer Gallery of Art and Arthur M. Sackler Gallery Archives

GUID:

https://n2t.net/ark:/65665/dc365e7c531-8cae-4c39-81c1-4e84ec3fb5e2

EDAN-URL:

ead_component:sova-fsa-a-04-ref10225

Creator:

Sevruguin, Antoin, 1851-1933  Search this

Names:

Islamic Archives  Search this

Sevruguin, Antoin, 1851-1933  Search this

Smith, Myron Bement, 1897-1970  Search this

Collection Creator:

Smith, Myron Bement, 1897-1970  Search this

Extent:

1 Glass negative (b&w, 24 cm. x 18 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 broken."

- Handwritten number (inked, probably by Antoin Sevruguin) reads, "601."

- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1663."

- Myron Bement Smith handwritten caption in English reads, "47.P; Box 29.8: Fars. 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.29.08

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.

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, FSA A.04. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of Katherine Dennis Smith.

Identifier:

FSA.A.04, Item FSA A.4 2.12.GN.29.08

See more items in:

Myron Bement Smith Collection

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

Archival Repository:

Freer Gallery of Art and Arthur M. Sackler Gallery Archives

GUID:

https://n2t.net/ark:/65665/dc3ac098e22-b6d2-4e13-b6bf-6a8273e81673

EDAN-URL:

ead_component:sova-fsa-a-04-ref10234

Creator:

Sevruguin, Antoin, 1851-1933  Search this

Names:

Islamic Archives  Search this

Sevruguin, Antoin, 1851-1933  Search this

Smith, Myron Bement, 1897-1970  Search this

Collection Creator:

Smith, Myron Bement, 1897-1970  Search this

Extent:

1 Glass negative (b&w, 23.8 cm. x 17.9 cm.)

Type:

Archival materials

Glass negatives

Place:

Asia

Iran

Naqsh-i Rustam (Iran)

Date:

1902-1905

Scope and Contents:

"Instead of taking the photo facing the figures - thus placing the focus on the relief - the photo is taken so that the rocky background and the two figures in front of it are in focus. The same style of framing and focus can be observed with other photographs of archaeological sites in Sevruguin's archive that differentiates him from the photos taken by archaeologists." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]

- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is broken and portions of the emulsion are missing."

- Handwritten number (inked, probably by Antoin Sevruguin) reads, "852."

- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1645."

- Myron Bement Smith handwritten caption in English reads, "47.P; Box 29.9: Fars. ? (Fragments)." [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.29.09

General:

Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.

Collection Restrictions:

Collection is open for research.

Collection Rights:

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

Topic:

Ancient Near Eastern Art  Search this

Relief (Sculpture)  Search this

Royalty (Nobility)  Search this

Sassanids  Search this

Genre/Form:

Glass negatives

Collection Citation:

The Myron Bement Smith Collection, FSA A.04. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of Katherine Dennis Smith.

Identifier:

FSA.A.04, Item FSA A.4 2.12.GN.29.09

See more items in:

Myron Bement Smith Collection

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

Archival Repository:

Freer Gallery of Art and Arthur M. Sackler Gallery Archives

GUID:

https://n2t.net/ark:/65665/dc301baa955-2ecf-476e-b7ee-156faaf27ac4

EDAN-URL:

ead_component:sova-fsa-a-04-ref10235