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| Photog. Antoin Sevruguin |
By Antoine Sevruguin were taken art images from ruins of the "Gokmosque" in Tabriz late XIX century.
در اواخر قرن نوزدهم٬ توسط آنتوان سوروگین تصاویر هنری از خرابه های "گؤک مسجد - Gokmosque" در تبریز گرفته شده است.
[Source1] - Antoin Sevruguin (In persian آنتوان سورگین: ۱۸۳۰-۱۹۳۳) was a photographer in Iran during the reign of the Qajar dynasty (1785–1925).
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist
[Source3] - Antoin Sevruguin managed and operated one of the most successful commercial photography studios in Tehran, Iran, in the late 19th century. Born in the 1840s in Iran, Sevruguin’s mother returned with her children to her hometown of Tbilisi, Georgia, after his father Vassil, a Russian diplomat in Iran, died in a horse-riding accident. Trained as a painter, Sevruguin returned to Iran in the early 1870s accompanied by his two brothers, establishing a photography studio first in Tabriz and then Tehran. His studio’s ties to Tbilisi, however, persisted through the years; many of the early portraits of dervishes and women have been simultaneously attributed to Antoin Sevruguin and Dimitri Yermakov, the Georgian photographer who is often referred to as Sevruguin’s mentor from Tbilisi.
Many of Antoin Sevruguin’s photographs were published as
early as 1885 in travelogues, journals, and books, indicating that by
that time he had a fully established practice on Tehran’s Ala al-Dawla
Street, with ties to the court of Nasir al-Din Shah Qajar. Often unacknowledged as the producer of published images in his own time—the 1902 photographic survey of Persepolis
being the most glaring of such authorial misrepresentations—he was
nevertheless celebrated and acknowledged for his artistic vision and his
keen eye for composition, earning the Medal of Lion and Sun from Nasir
al-Din Shah, the 1897 Medal of Hono r in the Brussels International
Exposition, and the 1900 Medal of Honor in the Paris International
Exposition.
[Source2] - 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.
[Source3] - Antoin Sevruguin managed and operated one of the most successful commercial photography studios in Tehran, Iran, in the late 19th century. Born in the 1840s in Iran, Sevruguin’s mother returned with her children to her hometown of Tbilisi, Georgia, after his father Vassil, a Russian diplomat in Iran, died in a horse-riding accident. Trained as a painter, Sevruguin returned to Iran in the early 1870s accompanied by his two brothers, establishing a photography studio first in Tabriz and then Tehran. His studio’s ties to Tbilisi, however, persisted through the years; many of the early portraits of dervishes and women have been simultaneously attributed to Antoin Sevruguin and Dimitri Yermakov, the Georgian photographer who is often referred to as Sevruguin’s mentor from Tbilisi.
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| Antoin Sevruguins artwork |
Reflecting a career that spans nearly half a century, Sevruguin’s diverse body of work includes studio portraits of families, women, and dervishes ; survey photographs of archaeological sites, objects, landscapes, and architecture; and photographs of royalty, high officials, and ceremonies
of the Qajar court. The range of his output not only demonstrates his
own pictorial concerns and artistic abilities, but also the divergent
interests of his clients. Despite numerous devastating incidents
throughout his career — the loss of more than half of his negatives in a
1908 blast and fire, an unsuccessful attempt at diversifying into
cinematography in the 1910s, and the confiscation of the remainder of
his negatives in the mid-1920s, to name a few— his studio remained
operational even after his death in 1933. A number of negatives from the
Sevruguin studio can be dated to the years after Antoin’s death,
indicating that the studio continued to be commercially viable. As one
of the most prolific early commercial photographers in Iran, Antoin
Sevruguin’s artistic legacy has since proved far more enduring. [Shabnam
Rahimi-Golkhandan, F |S curatorial research specialist] ....
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Tabriz (Iran): Masjid-i Muzaffariyya (Masjid-i Kabud, Blue Mosque): Interior View toward the Entrance [graphic]
Tabriz (Iran): Masjid-i Muzaffariyya (Masjid-i Kabud, Blue Mosque): View of the Entrance Portal [graphic]
Tabriz (Iran): Masjid-i Muzaffariyya (Masjid-i Kabud, Blue Mosque): Interior View toward the Left Corner of the Entrance [graphic]
Tabriz (Iran): Masjid-i Muzaffariyya: Interior View toward the Entrance [graphic]
Tabriz (Iran): Masjid-i Muzaffariyya (Masjid-i Kabud, Blue Mosque): Interior View toward the Small Domed Sanctuary [graphic]
Tabriz (Iran): Masjid-i Muzaffariyya (Masjid-i Kabud, Blue Mosque): View of the Entrance Portal [graphic]
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