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Tehran and beyond. Sevruguin's photographs offer a glimpse into an era before significant modernization transformed the city and its surroundings. His images include detailed depictions of monuments, bridges, and landscapes that have since undergone considerable change. Through his lens, we can observe the intricate designs of historic structures, the traditional attire of the people, and the natural beauty of the
Iranian countryside, all of which contribute to a deeper understanding of Iran's cultural and historical heritage during the late Qajar period.
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Local residents could have their pictures taken in his studio, often posing in front of a painted backdrop. Most photographs were captured as glass negatives and printed as albumen prints. These prints frequently featured a logo with
Sevruguin's name on one side. However, many 19th-century tourists found his name challenging to spell in Western languages, leading to various misspellings such as Sevraguine, Sevrugin, Sevriogin, Segruvian, and Serunian. Phonetically, his name was spelled "Sevr-joe-gien."
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royalty, nobility, and cultural figures, highlighting the intricate costumes and detailed architectural elements of the time. His ability to seamlessly blend artistic expression with ethnographic documentation rendered his work a valuable historical chronicle and a tribute to the opulent cultural legacy of Persia.
38:
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Many
Westerners who lived in Persia and travelers who visited the country brought back photographs from Antoin Sevruguin, often mentioning him in their travelogues of the time. Sevruguin's photographic studio, located on Avenue Ala al-Dawla, was one among several photographic studios on that street.
309:, and professions. Photographing regional costumes was an accepted method of ethnological research in the nineteenth century. Many European ethnological museums bought Sevruguin portraiture to complement their scientific collection. Museums collected pictures of merchants in the bazaar, members of a
300:
Some of
Sevruguin's portraitures fed preexisting stereotypes of Easterners but had commercial value, and today, they are proven to be historical records of regional dress. Photographic studios in the nineteenth century advertised a type of picture known in French as "types". These were portraits of
251:
often focused on portraying the everyday lives of ordinary people, capturing the rich diversity of
Persian society. His work depicted scenes from lively bazaars and tranquil countryside, along with poignant moments of family life. In addition, Sevruguin's portfolio frequently featured portraits of
329:
for
Persian types). Sevruguin was a photographer who had no boundaries in portraying people of all social classes and ethnic backgrounds. He portrayed members of the Persian royal family as well as beggars, fellow countrymen of Iran or Westerners, farmers working fields, rug weavers at work, army
291:
Because Antoin
Sevruguin traveled extensively around Qajar Iran, his photographs provide a vital visual record of the country as it existed in his time. His journeys allowed him to capture a wide array of images that document the diverse landscapes, architecture, and daily life of pre-modernized
231:, Georgia because she was denied her husband's pension. After Vassil died in a horse riding accident Antoin gave up the art form of painting and took up photography to support his family. His brothers Kolia and Emanuel helped him set up a studio in Tehran on Ala al-dawla Street (today
394:
Up to that point, Antoin had seven thousand plus photographs. Only two thousand were salvaged. As the photographs depicted numerous figures associated with the former Qajar regime and showed "conditions far removed from his own notions of a modern westernized nation",
977:, Los Angeles. Accession No. 2017.R.25. The 97 photographs in this collection are representative of Antoin Sevruguin's all-encompassing documentation of Persia, and comprise a mixture of studio portraits, outdoor vernacular scenes, and landscapes.
414:
in Tehran. Smith bought the images for USD 200, and when he died, his widow
Katharine Smith donated the photo plates archive to the Smithsonian Institution. Only 696 of Sevruguin's negatives survive today.
227:: Antoin Sevruguin was one of the many children of Vasily Sevryugin and a Georgian "Ms. Ashin". Vasily Sevryugin (or Vassil de Sevruguin) was a Russian diplomat to Tehran. Achin had raised her children in
913:
Scheiwiller, Staci G. (2018). "Relocating
Sevruguin: Contextualizing the Political Climate of the Iranian Photographer Antoin Sevruguin (c. 1851–1933)". In Ritter, Markus; Scheiwiller, Staci G. (eds.).
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Ganjine-ye aks-haye Iran. hamrah-e tarikhche-ye vorud-e akkasi be Iran, A treasury of early
Iranian Photographs together with a concise account of how photography was first introduced in Iran
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In 1951–1952, an American historian of Iranian Islamic architecture, Myron Bement Smith, learned that 692 plates on glass by Sevrugian were up for sale at the
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as well as other languages, he was capable of communicating with different social strata and tribes from his country Iran. His photos of the royal court,
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Sevruguin's Iran / Iran az negah Sevruguin, Late nineteenth century photographs of Iran from the National Museum of Ethnology in Leiden, Netherlands
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After his death from a kidney infection, Sevruguin's images resurfaced. He was survived by seven children from his marriage to Louise Gourgenian.
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Antoin Sevruguin Photographs, Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Smithsonian Institution, Washington D.C., U.S.A.
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Imams), people engaged in Shiite rituals, and more. Sevruguin's portraits were also spread as postcards with the text: 'Types persans' (
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283:(reigned from 1846–1896) took a special interest in photography, and many royal buildings and events were portrayed by Sevruguin.
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279:, mosques, and other religious monuments were compared to those of other Western photographers in Persia. The reigning Shah,
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Bohrer, Frederick N., ED. Sevruguin and the Persian Image. London: University of Washington Press, 1999.
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434:(MoMA) featured the work "Emergence" (2011), that had been derived from one of Sevruguin's images.
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typical ethnic groups and their occupation. They informed the European viewer, unfamiliar with
383:(reigned from 1907–1909) inadvertently bombed his store in suppression of Zahiru’d-Dawla, the
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L.A. Ferydoun Barjesteh van Waalwijk van Doorn, Gillian M.Vogelsang-Eastwood (eds.),
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Many of Antoin's photographs were taken from 1870-1930. Because Sevruguin spoke
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Sevruguin's Images of the Orient: Cultural Migrants Between Armenia and Persia
939:. Volume 40 of Oriental Institute Museum Publications. University of Chicago.
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802:
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714:
192:
736:"To Be or Not to Be an Orientalist?: The Ambivalent Art of Antoin Sevruguin"
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In 1908 the world was denied the rich collection of Sevruguin's images when
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Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs
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Iraj Afshar, ‘Some remarks on the early history of photography in Iran’ in
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872:, E.Bosworth, C. Hillenbrand (eds.), Edinburgh 1983, pp. 262–2.
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The Indigenous Lens?: Early Photography in the Near and Middle East
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422:, "Antoin Sevruguin and the Persian Image" (2001) was held at the
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Qajar Iran; political, social and cultural change, 1800-1925
399:(reigned from 1925–1941) confiscated the remaining images.
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321:(Persian dramatic presentation depicting the Passion of
791:"Art/Architecture; A Persian Pioneer In a Western Art"
391:. His house along with the whole street was burned.
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Antoin Sevruguin photographs of Persia, 1880s-1890s
430:exhibition "Projects 95: Runa Islam" (2011) at the
824:"The Magic of Movies, Born From a Single Snapshot"
901:Stephen Arpee Collection of Sevruguin Photographs
982:
305:, about the looks of regional dress, handcraft,
585:(later Reza Shah) as Qajar Iran's War Minister
932:
295:
883:Exhibition of Antoin Sevruguin's Photographs
912:
191:descent, in Persia during the reign of the
768:Navab, Aphrodite Désirée (July 20, 2003).
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504:Two Ladies and a Child Reposing in the
256:Royalty, nobility, and cultural figures
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1011:Iranian people of Georgian descent
936:Antoin Sevruguin: Past and Present
933:Vorderstrasse, Tasha, ed. (2020).
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317:, gatherings of crowds to see the
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1016:Iranian people of Russian descent
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734:Navab, Aphrodite Désirée (2002).
703:"Opening a Window on a Lost Past"
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16:Iranian photographer of Qajar era
918:. De Gruyter. pp. 145–170.
709:. International Herald Tribune.
666:"Sevruguin (Antoin) photographs"
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543:Pahlevani and zoorkhaneh rituals
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330:officers, religious officials,
862:, Teheran/Rotterdam 1378/1999.
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668:. Online Archive of California
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557:Girl Adorned in Silver Jewelry
1:
1001:Ethnic Armenian photographers
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570:Men with a live lion in Iran.
418:The small exhibit curated by
412:American Presbyterian Mission
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179:: آنتوان خان) was an Iranian
486:National Museum of Ethnology
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81:1933 (aged 81–82)
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530:. Pictured in 1900, Tehran.
426:of Harvard University. The
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1036:Burials at Doulab Cemetery
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296:Ethnographical photography
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46:. Photo taken before 1880
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528:Persian Cossack Brigade
468:Naser al-Din Shah Qajar
381:Mohammad Ali Shah Qajar
171:; 1851–1933), known as
71:Sublime State of Persia
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86:Imperial State of Iran
1006:Iranian photographers
775:Encyclopaedia Iranica
313:(a wrestling arena),
287:Landscape photography
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115:Painting, photography
1031:People of Qajar Iran
879:, Teheran 1371/1992.
524:Vladimir Kossogovsky
432:Museum of Modern Art
770:"Sevruguin, Antoin"
526:, commander of the
244:Practice and themes
828:The New York Times
795:The New York Times
707:The New York Times
362:Sevruguin's Studio
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1021:Persian Armenians
397:Reza Shah Pahlavi
385:constitutionalist
281:Nasir al-Din Shah
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131:Seven, including
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350:, Shasavan,
332:Zoroastrians
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233:Ferdowsi St.
203:Born into a
202:
181:photographer
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996:1933 deaths
991:1851 births
601: [
173:Antoin Khan
104:Nationality
985:Categories
841:2022-10-17
808:2022-10-17
720:2022-10-17
652:References
428:Runa Islam
207:family of
199:Early life
836:0362-4331
803:0362-4331
752:0021-0862
715:0362-4331
583:Reza Khan
455:in Tehran
371:Vandalism
352:Assyrians
344:Georgians
336:Armenians
315:dervishes
267:signature
249:Sevruguin
144:Patron(s)
887:Archived
604:Wikidata
377:Cossacks
311:Zurkhana
307:religion
213:Georgian
209:Armenian
189:Georgian
185:Armenian
128:Children
99:, Tehran
84:Tehran,
853:Sources
672:10 June
646:Dervish
484:woman,
482:Kurdish
438:Gallery
319:Ta'zieh
273:Persian
229:Tbilisi
205:Russian
177:Persian
165:Persian
107:Russian
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28:Persian
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490:Leiden
453:beggar
403:Legacy
354:, and
327:French
277:harems
239:Career
221:Tehran
120:Spouse
67:Tehran
44:Vienna
30:: خان)
26:Khan (
607:]
506:Harem
389:Rasht
356:Gilak
348:Kurds
323:Shite
941:ISBN
920:ISBN
832:ISSN
799:ISSN
748:ISSN
711:ISSN
674:2019
340:Lurs
225:Iran
78:Died
59:1851
55:1851
52:Born
488:in
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219:of
183:of
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