"The initial construction on the site of the holy shrine - with an octoganal plan - in Qum dates back to 13th century. In addition to northward expansion of the whole complex, the original octagonal dome was also modified into a round structure in the earlier years of Safavid dynasty. The southwest corner of the structure houses the tombs of more than a few of Safavid kings, including Shah Sultan Hussayn and Shah Safi. In the 1880s, the new courtyard to the shrine was ordered by Amin al-Sultan, during which the two grand minarets of the western iwan and the two smaller minarets of the entrance were also added to the complex. The golden dome is dated back to Fath Ali Shah-I Qajar, which is consistent with the other restorations to religious buildings of the time. The photographer depicts the western iwan of the shrine which represents the most recent additions and embelishemnts of the time. The image is therefore taken after the Nasiri additions to the structure." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "1036."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "489) Abdul Azim." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 17.1: Tehran. Abdul Azim (#489)." [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 17."
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.17.01
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.
The Myron Bement Smith Collection, FSA A.04. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of Katherine Dennis Smith.
"The intial construction on the site of the holy shrine - with an octoganal plan - in Qum dates back to 13th century. In addition to northward expansion of the whole complex, the original octagonal dome was also modified into a round structure in the earlier years of Safavid dynasty. the southwest corner of the structure houses the tombs of more than a few of Safavid kings, including Shah Sultan Hussayn and Shah Safi. In the 1880s, the new courtyard to the shrine was ordered by Amin al-Sultan, during which the two grand minarets of the western iwan and the two smaller minarets of the entrance were also added to the complex. The golden dome is dated back to Fath Ali Shah-I Qajar, which is consistent with the other restorations to religious buildings of the time. The image depicts the vast cemetary in front of the Shrine of Fatima al-Ma'suma with visitors to the tombs. It was deemed a great honour and a privilege for people to be buried on the site of the two holy shrines in Iran, Imam Riza Shrine of Mashhad and Fatima al-Ma'suma shrine in Qum." [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 missing a piece in the lower right corner."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "216) Qom." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 26.12: (P) [black-and-white print on hand]. Qum. Qum. Shrine of Fatimeh. General view (# 216)." [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 26."
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.26.12
General:
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
The Myron Bement Smith Collection, FSA A.04. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of Katherine Dennis Smith.
"The minaret, a distinctly Seljuk structure, was built around 1080 and is located on the northeast corner of the mosque. The diameter of the base of the minaret measure close to 14 meters gradually reducing as it rises twenty-seven meters off the ground to reach seven meters in diameter at the top. The three-iwan mosque has gone under extensive renovations in the later (Nasiri) Qajar period." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "The sky is covered with red paper. The area between the paper and the horizon line is filled with black ink."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "21) Tower in Damghan." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 31.8: (P) [black-and-white print on hand]. Khorazan. Damghan. Manor of masjid-Juma." [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 31."
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.31.08
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.
The Myron Bement Smith Collection, FSA A.04. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of Katherine Dennis Smith.
"The structure dates back to 807 A.D. with the later Seljuk additions of the two iwans in the northern side and the twelfth century construction of the prayer hall, dome, courtyard, and the religious school. Later additions include the Safavid (1501-1732) addition of the southern and western iwans and arcades and the Qajar (1779-1924) expansion of the whole structure. The courtyard of the mosque - as one of the largest one of its kind in Iran - measures around 4000 square meters. the photo depicts the structure from the rooftops of the houses on its north side. The northern iwan an its minarets stand along the north-south axis of the structure and in front of the dome." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "The sky is covered with black paper. The area between the paper and the horizon line is filled with black ink. The ink is applied with meticulous attention to detail of the horizon."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "167."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "476."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 33.5: (P) [black-and-white print on hand]. Mosque." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Arrangement:
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 33."
Biographical / Historical:
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Local Numbers:
FSA A.4 2.12.GN.33.05
General:
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
The Myron Bement Smith Collection, FSA A.04. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of Katherine Dennis Smith.
"The initial construction on the site of the holy shrine - with an octagonal plan - in Qum dates back to 13th century. In addition to northward expansion of the whole complex, the original octagonal dome was also modified into a round structure in the earlier years of Safavid dynasty. The southwest corner of the structure houses the tombs of more than a few of Safavid kings, including Shah Sultan Hussayn and Shah Safi. In the 1880s, the new courtyard to the shrine was ordered by Amin al-Sultan, during which the two grand minarets of the western iwan and the two smaller minarets of the entrance were also added to the complex. The golden dome is dated back to Fath Ali Shah-I Qajar, which is consistent with the other restorations to religious buildings of the time. The photograph depicts the area beyond the western entrance to the shrine. Two tents are set up in the area, which could be of the visitors to the shrine." [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 with portions of the glass missing."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "66."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 35.2: Unknown, 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 35."
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.35.02
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.
The Myron Bement Smith Collection, FSA A.04. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of Katherine Dennis Smith.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "192."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "335."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 36.7: Khorasan. Bastam. Conical tomb tower." [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 36."
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.36.07
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.
The Myron Bement Smith Collection, FSA A.04. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of Katherine Dennis Smith.
"The initial construction on the site of the holy shrine - with an octagonal plan - in Qum dates back to 13th century. In addition to northward expansion of the whole complex, the original octagonal dome was also modified into a round structure in the earlier years of Safavid dynasty. the southwest corner of the structure houses the tombs of more than a few of Safavid kings, including Shah Sultan Hussayn and Shah Safi. In the 1880s, the new courtyard to the shrine was ordered by Amin al-Sultan, during which the two grand minarets of the western iwan and the two smaller minarets of the entrance were also added to the complex. The golden dome is dated back to Fath Ali Shah-I Qajar, which is consistent with the other restorations to religious buildings of the time. The vantage point of the photo indicates that the photographer is standing atop the front gate entrance looking back at the court. The figure leaning on one of the minarets on the facing gateway seems to mirror the placement of the photographer on the other side." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "892."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "230."
- Faded handwritten number (inked, probably by Antoin Sevruguin) reads, "N 83."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "81) Mashad." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 37.7: (P) [black-and-white print on hand]. Mashhad (?) (# 18)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Arrangement:
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 37."
Biographical / Historical:
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Local Numbers:
FSA A.4 2.12.GN.37.07
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.
The Myron Bement Smith Collection, FSA A.04. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of Katherine Dennis Smith.
"Dar al-Funun Institute was the first of its modern kind - institution of higher education in technology - in Iran. It owes its establishment - to a large extent - to Nasir al-Din Shah's teacher and chief minister, Mirza Taqi Khan Amir Kabir (b.1807-d.1852). It opened its doors in 1851 to cater, primarily, to the technological and medical needs of the army in Iran. The first 30 students of Dar al-Funun were chosen from the sons and daughters of the aristocratic circle of Iran, sent to Europe for completion of their degrees and re-employed in the country upon the conclusion of their education. The education was offered free of charge to the students. The initial group of teachers were seven Austrian teachers, which were then expanded to include Italian, French and German teachers in later years. The main areas of study in the school were: military technicians, medicine, pharmacology, mining, natural sciences, history and geography, and painting, music and languages. The photograph shows the building and courtyard of Dar al-Funun school from the top of the main gateway to Canons' Square. The small minaret -head, visible in the foreground of the image is one of the old Dawlat gate's minarets, facing out of the Maydan or square. The building of Dar al-Funun, framed in between the brick column - called Mil Asia - and the minaret was constructed around 1860s in Tehran to house the first institution of higher education, primarily focused on medical, technical and military training." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "Black paper on the back and black ink on the front."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "290."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "70) Scene of Teheran." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 48.8: Tehran, general view (#70)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Arrangement:
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 48."
Biographical / Historical:
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Local Numbers:
FSA A.4 2.12.GN.48.08
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.
The Myron Bement Smith Collection, FSA A.04. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of Katherine Dennis Smith.
"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. This photograph, however, was taken after the addition of the minarets. It shows the main entrance to the harem." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "Small piece of tape at the back. All the four sides are chopped down and there is a partial number visible (8) on the lower left edge the rest of which is gone with the cut."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "1132."
- Handwritten information on slip of paper reads, "Shah abdul Azim." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 53.10: Shah Abdul Azim, general view." [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 53."
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.53.10
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.
The Myron Bement Smith Collection, FSA A.04. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of Katherine Dennis Smith.
"The initial construction on the site of the holy shrine - with an octagonal plan - in Qum dates back to 13th century. In addition to northward expansion of the whole complex, the original octagonal dome was also modified into a round structure in the earlier years of Safavid dynasty. the southwest corner of the structure houses the tombs of more than a few of Safavid kings, including Shah Sultan Hussayn and Shah Safi. In the 1880s, the new courtyard to the shrine was ordered by Amin al-Sultan, during which the two grand minarets of the western iwan and the two smaller minarets of the entrance were also added to the complex. The golden dome is dated back to Fath Ali Shah-I Qajar, which is consistent with the other restorations to religious buildings of the time. The photo depicts the main entrance to the west side of the shrine and a partial view of the front courtyard, both after the renovations mentioend before." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- FSg curatorial research specialist remark on Antoin Sevruguin photo manipulation reads, "All four sides are chopped. Ink spots all over the image covering imperfections and scratches."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "1093."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "360) Qom." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 54.4: Kum. Kum. Shrine (340)." [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 54."
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.54.04
General:
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
The Myron Bement Smith Collection, FSA A.04. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of Katherine Dennis Smith.
"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. This photograph, however, was taken after the addition of the minarets. It shows the main entrance to the harem." [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 four sides are heavily chopped off. It is a copy print."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "1044."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 56.12: Mosque." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Arrangement:
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 56."
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.56.12
General:
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
The Myron Bement Smith Collection, FSA A.04. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of Katherine Dennis Smith.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "All four sides are chopped off."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "1159."
- Scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "393."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 56.8: Manār." [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 56."
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.56.08
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.
The Myron Bement Smith Collection, FSA A.04. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of Katherine Dennis Smith.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is cracked."
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "998."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 59.12: 2 manars (yellowed)." [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 59."
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.59.12
General:
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
The Myron Bement Smith Collection, FSA A.04. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of Katherine Dennis Smith.
- On verso of the print, handwritten number (penciled) reads, "31.8."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Khorasan; Minaret of great mosque (Masjid-i Juma)."
Arrangement:
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran); Architecture; Landscapes). This print is in the following subject category: Architecture.
Biographical / Historical:
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Local Numbers:
[19(A8)]
FSA A.4 2.12.Sm.51
General:
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
The Myron Bement Smith Collection, FSA A.04. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of Katherine Dennis Smith.
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "192."
- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "335."
- On verso of the print, handwritten number (penciled) reads, "36.7."
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "Persia; Shahrud Bustam; Bustam; Shrine of Bayazid Al Bastami; view of minaret."
Arrangement:
Gelatin silver prints organized by Myron B. Smith into subject categories (People; Architecture - Pre-Islamic; Royalty - Residences - Gulistan Palace (Tehran); Architecture; Landscapes). This print is in the following subject category: Architecture.
Biographical / Historical:
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Local Numbers:
[19(D6)]
FSA A.4 2.12.Sm.79
General:
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
The Myron Bement Smith Collection, FSA A.04. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of Katherine Dennis Smith.
"The view is of the Bazaar and the street in front of the main entrance to Masjid-I Shah. The mosque bears inscriptions with various dates but its construction is generally dated to Fath Ali Shah-I Qajar's (1772-1834) time (early 19th century). The names of the calligrapher and tile workers and designers are visible on the tileworks around the main courtyard. The minarets of the central iwan of the courtyard that flank the central clock structure are Nasir al-Din Shah's addition to the structure." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 1.2: Iran. Tehran - Dawezeyi Dawlat." [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 1."
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.04 2.12.GN.01.02
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.
The Myron Bement Smith Collection, FSA A.04. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of Katherine Dennis Smith.
"The initial construction on the site of the holy shrine - with an octagonal plan - in Qum dates back to 13th century. In addition to northward expansion of the whole complex, the original octagonal dome was also modified into a round structure in the earlier years of Safavid dynasty. the southwest corner of the structure houses the tombs of more than a few of Safavid kings, including Shah Sultan Hussayn and Shah Safi. In the 1880s, the new courtyard to the shrine was ordered by Amin al-Sultan, during which the two grand minarets of the western iwan and the two smaller minarets of the entrance were also added to the complex. The golden dome is dated back to Fath Ali Shah-I Qajar, which is consistent with the other restorations to religious buildings of the time. The photograph shows the complex of the shrine from afar and behind so that that entrance arch is not visible. The view however shows a bit of the architectural landscape of the city around the shrine with domed rooftops. Fath Ali Shah Qajar and Muhammad Shah Qajar, as well as Mahd-i Awliya, Nasir al-Din Shah's mother, are buried in the northern courtyard of this shrine. The image might be a copy print." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 1.4: Iran. Kum - general view." [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 1."
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.04 2.12.GN.01.09
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.
The Myron Bement Smith Collection, FSA A.04. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of Katherine Dennis Smith.
"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 shows the cemetery behind the main courtyard of the mosque, with the dome and minarets of the shrine visible in the background. The shrine is also the burial place of Nasir al-Din Shah whose tombstone - in white marble - is a notable marker of the Shah's burial place." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 1.4: Iran. Tehran - Shah Abdul Azim." [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 1."
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.01.10
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.
The Myron Bement Smith Collection, FSA A.04. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of Katherine Dennis Smith.
From Berlin to Pasargadae via Basra, Baghdad, Paikuli, Tāq-i Bustān, Hamadan, Teheran, Khurha, Qum and Isfahan.
- FSA A.6 01.04, on which Joseph Upton's classification mentions "N-83", provides an account of an expedition (February 14, 1923 to November 14, 1923) from Berlin (Germany) to Pasargadae (Iran), via Bombay (india) and Karrachi (Pakistan), then following ancient caravan roads via Baghdad (Iraq), Paikuli (Iraq), hamadan (Iran), Tehran (Iran), Isfahan (Iran), to finally reach Shiraz (Iran) and the monuments in its vicinity.
- Original handwritten title on cover reads: "Ernst Herzfeld; Tagebuch, Persien I, 1923"
- Ab-i'arm, near Khurha (Iran): Sketch plan of bath, (p. 1).
- Bombay (India): Refused permission to disembark, March 16, 1923, (p. 1).
- Karrachi (Pakistan): Refused permission to disembark, March 18, 1923, (p. 8).
- Zubair (old Basra) (Iraq): Comparison with Samarra (Iraq), March 24, 1923, (p. 9).
- Baghdad (Iraq) and Ctesiphon (Iraq): Notes on Talisman Tor, Mustansiriyya Madrasa, Sultanatspaläste, in der Zitadelle, Mirjāniyya Madrasa, Khan Ortma. Side trips to Ctesiphon. Comments on British and Arab personalities and on political views of Egyptians, March 25 to May 24, 1923, (pp. 10-36).
- Miss Gertrude Bell, quote "uncrowned Queen of Iraq," April 5, 1923, (p. 12).
- Samarra (Iraq): Visit with comments of personalities, state of ruins and Caliph's palace. Comparison of ruins with Kufa (p.21); of mosques with those at Nejef and Qazwin (p.22); and fate of the lost finds from Samarra during World War I., April 9-16, 1923, (pp. 15-16).
- al-Kharsuin (Iraq): Visit and observation re ruins, probably Nebukadnezar's time. Sketch: plan of temple with ziggurat, April 17, 1923, (p. 16).
- Taq (Iraq): Visit to and comments, April 19, 1923, (pp. 17-18).
- Salman Pak (Iraq): Sketch of two carved stucco ornaments, April 19, 1923, (pp. 19).
- Baghdad (Iraq): Daniel, Menachem, Baghdad philantropist; Sarkis, Yusuf (Baghdad), "very fine library, almost complete about Iraq," April 25, 1923, (p. 19).
- Vicinity of Kufa (Iraq): Sanctuary of Dhuʹl-Kifl, April 27, 1923, (pp. 19-21).
- Nejef (Iraq): Safavid entrance to mosque compared with mosques in Samarra (Iraq) and Qazvin (Iran), April 28, 1923, (pp. 22).
- Baghdad (Iraq): Khayyat, Djirdjis (antique dealer, Baghdad), important antiquities for sale: Hellenistic, Parthian, Sasanian and Islamic, May 12, 1923, (pp. 23-25).
- Bahrām V GÅr; silver plate in possession Khayyat, May 12, 1923, (pp. 24-25).
- Account of fate of Babylon expedition finds during World War I: May 1923, (pp. 27-30).
- Fate during World War I of Sarre's "hebb", (p. 31).
- More discussion of antiquities, including important Sasanian bullae, May 18, 1923, (pp. 32-35).
- Warka (Iraq): Sasanian bullae, May 18, 1923, (pp. 32-35).
- Deli 'Abbas (Iraq): Trip from Baghdad via Khan Bani Sa'ad, Nahrawan, Ba'quba, Khan al-Musabbagh, Abu Saida to Deli 'Abbās, with comments on Arab and British officials, May 24-26, 1923, (pp. 37-41).
- Kal'at al-Mufti (Iraq): The larger of two Tells between Abu Saida and Deli 'Abbas, May 26, 1923, (p. 39).
- Qara Tepe (Iraq): Trip from Deli 'Abbas via Nahr Shohane, Tell Manzil (Ishtar-statuette), Khir Suweine, Qyshla Suweine (ruins), Kashheh Pass, Narimchai. Comments on inhabitants and landscape, May 27, 1923, (pp. 41-44).
- Kallan (Iraq): Trip from Kifri via Sarkalan and Kallan (Kal'a-i Shirwana), May 29, 1923, (pp. 49-51).
- Trip to Paikuli (Iraq) via Zhala and work there, including new names in inscriptions, May 30 to June 7, 1923, (pp. 51-53).
- Trip from Paikuli (Iraq) via Diagiaish, Qaslan, Darband, Khan-i Naft to Sarpul, June 7, 1923, (p. 52).
- Darband Gorge (Kurdistan): Babylonian reliefs and ruins, June 9, 1923, (pp. 54-55).
- Sarpul (Iran): Made squeezes of inscriptions. Arsacid relief with Pahlavi inscription of Ardvaran V (Hartaban), June 11-12, 1923, (p. 55-57).
- Dukkan i Daud (Iran), June 13 1923, (pp. 57-58).
- Kerind (Iran): Building remains, June 14, 1923, (pp. 59).
- Firuzabad (Iran): In the valley from Kerind a whole series of Tells. Nearby the rock drawing of an ibex, June 14, 1923, (p. 59-60).
- Husainabad (Iran): Large Tell, June 15, 1923, (pp. 60).
- Hasanabad (Iran): Many Tells, two meaningful, June 16, 1923, (pp. 61).
- Harnawa (Harunabad) (Iran): Many old settlements, June 16, 1923, (pp. 61).
- Kermanshah (Iran), June 21, 1923, (pp. 62-64).
- Taq-i Bustan (Iran): Small grotto: Shapur II and III. Squeezes of textiles of hunting reliefs in large grotto of Khusro II. Notes on Kale-i Khusrawi, June 21-24, 1923, (pp. 64-69).
- Kale i Khosrowi (Iran): Sketch of ruins, June 21, 1923, (p. 67).
- Tell Ciah-i Gulan (Iran), June 21, 1923, (p. 67).
- Hajjiabad and Bisutun (Iran): Column bases and capitals, Sasanian or Arsacid, June 26, 1923, (pp. 69-70).
- Bisutun (Iran): Sasanian capital, Khusro II; Parthian worshipper; relief of Mithradates II; inscriptions of Darius, Mithradates and Gotarzes; 12-13th c. tombstones, June 26, 1923, (pp. 70-72).
- Sunghur (Iran): Imamzadeh in the city and Imamzadeh Malag outside; Kufic tombstones; and comments on the inhabitants, June 25-26, 1923, (pp. 74-76).
- Asadabad (Iran), June 29, 1923, (p. 76).
- Ferman Ferma, owner of Adjin. For rock sculpture of father, Timur Mirza, see under Pul Abginne. In 1905 Ferman Ferma Governor of Kirmanshah, Burujird, Luristan, June 29, 1923, (p. 76).
- Hamadan (Iran): Lion, Esther's tomb. Gumbad-i Alawiyyan, Imamzadeh Baba Tahir, Kufic tombstones in cemetery Sar-i ahl-i qubur, antiquities for sale, July 1-4, 1923, (pp. 77-82).
- Ab-i'arm (Iran), July 4, 1923, (p. 82).
- Qazvin (Iran): Trip from Hamadan to Qazvin via Ab-i Garm. Mosque compared with that in Nejef, July 5-6, 1923, (pp. 83-84).
- Qazvin (Iran) to Teheran (Iran), July 8-9, 1923, (pp. 84-85).
- Teheran (Iran): Visit to photographic studio of Sevruguin, July 9, 1923, (p. 85).
- Teheran (Iran): No diary, July 10 to September 30, 1923.
- Ray (Iran): Camped at Citadel, October 1, 1923, (p. 86).
- Varamin (Iran): Recorded all inscriptions, October 2-3, 1923, (pp. 86-88).
- Qum (Iran): Trip from Waramin via Abarik, Hajjiabad, Karimabad, Sar-i Masila, Muhammadabad, Kadj, Kumrad, Qara Tepe. Treasures of the Shrine. Older grave towers of 761/1359 and 792/1390, October 4-6, 1923, (pp. 88-91).
- Qara Tepe (Iran): Ruin mound on the edge of the salt desert enroute to Qum, October 5, 1923, (p. 90).
- Qum (Iran): Gunbad-i Sabz, inscriptions noted and visit to three sanctuaries, October 7, 1923, (pp. 91-92).
- Daghun (Iran): Stone lions; Imamzadeh Ja'far, restored by Shah 'Abbas I, October 8, 1923, (pp. 92-94).
- Husainabad (Iran) (between Dāghun and Khurha): Trip via Daulatabad, Kal'a Tcham, Deh-i NÅ, October 9, 1923, (pp. 94).
- Khurba (Iran): Notes on temple ruins, graves and ceramics. Sketch: possible plan and sockel of corner column, October 10-12, 1923, (pp. 95-101).
- Dilijan (Iran): From Khurha to Dilijān via Nāin and Āb-i Garm. Popular conception of "antiques" of peasants of Dilijan. Sketch: plan of old bath (inside covers of N-83), October 13, 1923, (pp. 101-102).
- Personal comments on Misc. topics, 1923 Oct. 13. Comments on possible results of current political attitudes in Germany under Streseman, October 13, 1923, (pp. 102-104).
- Dilijan-Isfahan (Iran): Itineraries, October 14, 1923, (p. 104).
- Reflections on what caused the ruin of the Orient, October 14, 1923, (pp. 104-106).
- Quruqtchai (Iran): Trip from Quruqtchai to Wandadeh, October 15 1923, (p. 106).
- General observations on Persian people and politics, October 15, 1923, (pp. 106-108).
- Wandadih (Iran): Trip via Mehme and Djoshagan-i qali. Notes on limestone doors, October 16, 1923, (pp. 108-109).
- Observations on the historic relationships between the Slavs and Western Europe, October 16, 1923, (p. 109-111).
- Comments on donkeys and horses, October 17, 1923, (pp. 111-112).
- Gez (Iran), October 18, 1923, (pp. 113-120).
- Observations on British customs, war memorials and cultural and political conditions in Europe, October 18, 1923, (pp. 113-120).
- Isfahan-Bushire and Shiraz-Bushire, October 18, 1923, (pp. 114-115).
- Isfahan (Iran): Chehel Sutun with reliquaries (pp.124, 126); Masjid-i 'Ali (pp.122, 127); Mashid-i Jum'a (pp.122, 128); Shahristan with minaret "Chan Rustan" (p.127) Masjid-i Shah (p.127); Imamzadeh Isma'il (Jewish Nabi 'Isaya) (pp. 127, 130); Chehel Dukhtaran madrasa (p.128); Chinar-i Dalbati (p.128); Minare-Baba Tuteb (p.129); Baba Sukhta (pp.128, 129); Baghuch Khana (p.129); Tabariq (p.129); Baba Qasim (pp.129, 130); Takht-i Pulad (pp.129, 132); Harun-i Wilaya (p.130); Ja'fariyya (p.130); entrance of Qaisariyya (p.130); Hasht Behisht (pp.130, 132), October 19 to November 7, 1923, (pp. 124-132).
- Isfahan (Iran), October 20-23, 1923, (pp. 120-124).
- Isfahan (Iran): Sketch: Location of paintings, discussion of Chehel Sutun and objects in museum (Korans, Wasf-nāmeh), October 23, 1923, (p. 124).
- Isfahan (Iran), October 25, 1923, (p. 127).
- Pir Bakran (Iran): Sketch of glazed tile, November 6, 1923, (pp. 132).
- Abadeh (Iran): Trip from Isfahan via Marg, Maqsud Beg, Yezdikhast. Conversations with officials in Abadeh, November 7-10, 1923, (pp. 132-133).
- Khan-i Khurra (Iran): Eight-sided Safavid caravansarai between Dehbid and Abadeh, November 11, 1923, (p. 136).
- Qadirabad (Iran): Trip from Dehbid, November 12, 1923, (pp. 138-139).
- Pasargadae (Iran): Sketch: detail of columns and bases; doorway of tomb of Cyrus, November 13-14, 1923, (p. 139-143).
Ernst Herzfeld Papers, Series 1: Travel Journals; Expedition to Persia, Diary 1
Arrangement:
In the original arrangement of the Ernst Herzfeld Archive, Travel Journals were included in a larger body of diverse material acknowledged by Ernst Herzfeld as his study collection. In the early 1970s, Joseph Upton, for research purpose, rearranged the collection and created a specific series (Ernst Herzfeld Papers, Series 1: Travel Journals, 1905-1928) for eight travel journals. For some reason, Upton has given this journal an accession number related to the series he created for the notebooks (Ernst Herzfeld Papers, Series 3: Notebooks, 1904-1946, 1957, n.d.), probably following Herzfeld's original organization.
Local Numbers:
Ernst Herzfeld Papers, N-83
FSA A.6 03.083
FSA A.6 01.04
General:
- Additional information from staff reads, "The handwritten text of the Journal in German was transliterated and reviewed by Ernst Herzfeld's former collaborator, Friedrich Krefter, with the assistance of his wife, Maria Krefter. Please contact the Archives for digital access to the transliterated copy."
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
"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.
