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Sanderson's American Indian Footage ca. 1926-1932

Human Studies Film Archives
Supplementary materials: 1

Cataloging supported by Smithsonian Institution Women's Committee

Outtakes shot of tribes of the western, southwestern, and northern United States. Footage includes Klamath, Karuk, Yurok, Hupa, Navajo, Zuni, Hopi, Chippewa, Apache, and Cheyenne, and Sioux and is believed to have been shot in conjunction with the edited film INTERTRIBAL INDIAN LIFE AND CULTURE. Shots of ethnographic interest include Hupa foodways, arrowmaking, and basketry; fishing with dip nets along the Klamath River; Klamath or Hupa ceremonial dances including the bear, deer, and otter dances; Karuk and Yurok ceremonial dances including the jump, hoop, and brush dances; Apache devil dancers and Pueblo Eagle dance at Window Rock; sun dance lodge and ceremony (probably Cheyenne); Chippewa ceremony of the Grand Medicine Society, Red Lake Reservation near Cass Lake and Black Duck, Minnesota; marathon race and wrestling matches at Klamath Reservation; and pow-wow footage of Plains Indians (unidentified).

An Ascetic, from Cave 224

Freer Gallery of Art and Arthur M. Sackler Gallery

Program for a boxing match between Jimmy Ellis and Joe Frazier

National Museum of African American History and Culture
A twenty page program for the March 2, 1975 boxing match between Jimmy Ellis and Joe Frazier in St. Kilda, Australia. The cover features a color image of Joe Frazier and Jimmy Ellis boxing. White and yellow type on front cover reads: [SHOWDOWN / AT ST. KILDA / FRAZIER - ELLIS BOUT / MELBOURNE – 1975 / SOUVENIER PROGRAMME - $1-00]. The interior includes advertisements, profiles, ring records, a score card, and analysis articles.

Photograph of a group at Paul R. Williams tribute event

National Museum of African American History and Culture
Black-and-white photograph (a) of a group at a dinner in honor of Paul R. Williams with an identifying note (b). Nine (9) men are pictured in formal wear. Five (5) men are seated in the front row, with Carey Jenkins on the left next to Harold Williams and Paul R. Williams in the center. Vincent Proby is sitting on the right side. Four (4) men are standing in the background with John LaConta and Robert Kennard on the left side. There are inscriptions and a photographer’s stamp on the reverse. There is a handwritten note associated with the photograph. The lined paper has the date of the tribute dinner for Paul R. Williams and lists the names of the men in the image. The reverse is blank.

Travels through North and South Carolina, Georgia, east and west Florida, the Cherokee country, the extensive territories of the Muscogulges, or Creek confederacy, and the country of the Chactaws : containing an account of the soil and natural productions of those regions : together with observations on the manners of the Indians : embellished with copper-plates / by William Bartram

Smithsonian Libraries
"Philadelphia: printed by James and Johnson, 1791."

First published in Philadelphia, 1791. Cf. Sabin (v. 1, p. 513) 3870.

Pt. IV, p. [479]-520 has special half-title: An account of the persons, manners, customs, and government, of the Muscogulges, or Creeks, Cherokees, Chactaws, &c. aborigines of the continent of North America / by William Bartram.

Frontispiece portrait signed: Holloway sculpt.; map signed: T. Conder sculpt.

Signatures: a⁴ b⁸ B-2L⁸.

Final p. is blank.

Press figures.

Includes index.

Directions to the binder: p. [7] (3rd group); this leaf is wanting in SCNHRB c. 2.

ESTC (RLIN) T88530

Also available online.

SCNHRB c. 1 (39088006094742) has ms. signature on end-leaves and on t.p.: Wm. C. Bryant. This copy is a gift to SIL from Harry Lubrecht, with his collection note "OSS 6/68" on front free endpaper; with some brief ms. notes in an unidentified hand in the margins. Also with a printed bookseller's label on front paste-down endpaper: The Arthur H. Clarke Company ... Cleveland, Ohio.

SCNHRB c. 1 has an extra engraved plate inserted between p. 210 and 211, captioned "An Indian warrior, entering his wigwam with a scalp," engraved by Barlow.

SCNHRB c. 1 has old half-leather binding with decorated orange and black paper boards; gilt-ruled spine.

SCNHRB c. 2 (39088010382414), erroneously stamped "W/D DSI," has bookplate: Smithsonian Institution Libraries. Gift of Marcia Brady Tucker; with the Tucker collection's collational notes on front free endpaper and t.p.

SCNHRB c. 2 has a later half-leather binding with brown cloth-clovered paper boards; raised bands; gilt-tooled spine; marbled endpapers; top-edge gilt. Signed: Bayntun, binder, Bath, Eng.

Elecresource

Uniform cap owned by Pullman Porter Robert Thomas

National Museum of African American History and Culture
A Pullman Porter uniform cap owned by Robert Jackson Thomas. The cap has a stiff, black crown and a black plastic visor. Metal buttons are on both sides of the cap where the visor meets the crown. The buttons are silver colored with the word “PULLMAN” on it. An off white corded strap connects both buttons and rests on the visor. A tarnished silver colored plate at the front of the cap has black lettering that reads “PULLMAN / PORTER.” Four black metal grommets are found in the top of the hat. The interior liner is a strip of brown leather sutured together at the seam.

Building brick from Bethune-Cookman University's White Hall

National Museum of African American History and Culture
A clay brick that was once part of the structure of Bethune-Cookman University's White Hall. The brick is a standard solid style brick, with some irregularity in shape because of a chunk of mortar affixed to the top side. The brick is a faintly reddish color, with a gray tinge from mortar residue. All sides of the brick are weathered and worn. The bottom has the least amount of mortar residue.

Makeup case used by makeup artist Bernadine M. Anderson

National Museum of African American History and Culture
Black hard-sided makeup case with silver metal hardware, including a lock & key mechanism. Hinged lid with a single, black plastic handle. Top compartment is a tray divided into two (2) sections. Underside of lid is lined with green felt. At the center is a square mirror flanked by a black elastic band on either side. The front panel is a hinged flap that folds down to reveal eight (8) wooden drawers. Each drawer has a mirrored bottom and silver-colored metal pull. Contains an array of makeup products (including stage makeup) such as foundation, blush, eye liner, adhesives, hair products, applicators, and eye shadow totaling 128 pieces.

Baseball cap from the Memphis Red Sox

National Museum of African American History and Culture
Memphis Red Sox baseball cap from the 1940s. The cap is a game-worn, wool, blue baseball-style cap. It has a stiff front brim and the crown is divided into six panels with white-stitched air holes in each panel. A white patch reading [M] has been sewn to the front and is outlined in red. The underside of the brim is green. There is a brown, leather headband running almost around the entire bottom interior of the hat. The front two panels of the interior of the hat are lined with a stiff white canvas. There is a torn, partial tag attached to the back edge of the leather band on the proper right side that reads [D[---?] / [---?] / [---?] / In[---?] / SHO[---?] / [---? ]].

Michael Holman Family Home Movie #12

National Museum of African American History and Culture
This film is from a collection of home movies filmed by the family of Michael Holman, an important figure in the history of hip hop.

Consists of: 8mm Film (a), Original Film Reel (b), and Original Film Box (c).

2016.31.3.12.1a: 8mm film. The film begins with images of the Baha'i House of Worship in Wilmette, Illinois, a suburb of Chicago. The various shots capture the main structure itself, as well as the surrounding grounds. In one shot, a group of people descend a set of stairs in front of the temple. Next, an older woman, possibly Pauline Woods, stares into the lens not realizing that the camera is recording. This is followed by a series of shots depicting a teenage boy, David Gaylord Montgomery, wearing a navy suit and white shirt and interacting with and posing for the camera. He emerges from the front door of a home, poses in front of the home, and then poses in front of a car. The final series of shots show an older woman posing in the yard of a home in an unidentified location. The series also includes images of plants in the home's garden.

2016.31.3.12.1b: Original film reel.

2016.31.3.12.1c: Original film box. Standard yellow Kodachrome 8mm film box with a brief handwritten content note.

Figurine Fragments

NMNH - Anthropology Dept.
From Olmec website (http://anthropology.si.edu/olmec), 2004: "Lot of 40 total pieces: 2 stamps; 6 ceramic sherds; 26 figurine fragments; 4 figurines; 2 unidentified pieces. From Trench 8."

The botanist's repository, for new, and rare plants : containing coloured figures of such plants, as have not hitherto appeared in any similar publication, with all their essential characters, botanically arranged, after the sexual system of the celebrated Linnaeus : in English and Latin : to each description is added a short history of the plant, as to its time of flowering, culture, native place of growth, when introduced, and by whom / the whole executed by Henry Andrews ..

Smithsonian Libraries
Text of v. I-V "probably written by John Kennedy ..., v. VI by A. Haworth, v. VII-X by George Jackson" -- Cf. Stafleu.

Printed t.p. present in v. I only; engraved title pages lack imprint.

Originally issued in 137 monthly parts (Cf. ESTC).

Plates are unsigned but were drawn and engraved by the author--Cf. Cleveland collections, p. 598.

Plates are hand-colored.

Each v. with errata on verso of or at foot of index leaf except for v. I where errata on verso of preface.

Includes indexes; additional indexes for v. I-V bound at end of v. VI and for VI-X bound at end of v. X.

ESTC T88189

Stafleu & Cowan. Taxonomic lit. (2nd ed.), 135

Johnston, S.H. Cleveland collections, 641

Also available online.

Elecresource

SCNHRB has two copies.

SCNHRB c. 1 (39088015704596, 39088015704638, 39088015704679, 39088015704711, 39088015704752) stamped on t.p.'s: Smithsonian Institution National Museum [ms. acc. no.] 242403.

SCNHRB c. 1 bound in 5 vols. in three-quarters brown sheepskin and marbled paper boards, title in gilt on spine, green endpapers; uncut; bookseller's ticket: William Wesley & Son, London. Printed bibliographical description attached to front free endpaper of v. I.

SCNHRB c. 2 (39088015704794, 39088015704836, 39088015704877, 39088015704919, 39088015704950) without the general printed t.p. Indexes for each v. bound in front; indexes for v. I-V and VI-X both bound in v. X.

SCNHRB c. 2 has Smithsonian Institution bookplate with donor's name, John Donnell Smith, in ink.

SCNHRB c. 2 stamped on engraved t.p.'s: Smithsonian Institution Special Collections Sep 10 1929.

SCNHRB c. 2 bound as 5 vols. in tan calf with unidentified gilt armorial on front and back covers, title in gilt on spine, marbled endpapers, gilt edges; measures 28 cm; housed in archival cardboard boxes.

Beschäftigungen der Berlinischen Gesellschaft Naturforschender Freunde

Smithsonian Libraries
Edited by F.H.W. Martini, and F.W. Otto (1779).

Engraved vignette on t.p.; head- and tail-pieces; initials.

Illustrators include Cramer; F.C. Krüger; and W.A. Müller; engravers include Glassbach; C.C. Glassbach fil.; F.C. Krüger; W.A. Müller; Schmidt; and G.W. Wolff.

Errors in paging.

Vol. for 1778 not published.

Also available online.

Available also via the World Wide Web; access available via SIL PURL.

Bd. 1-4, 1775-1779 in Bd. 11 of the society's Schriften.

Elecresource

SCNHRB has one complete and one partial copy.

SCNHRB c. 1 (Bd. 1, 39088016711830; Bd. 2, ...4081; Bd. 3, ...1756; Bd. 4, ...1418) has bookplates: 1. (Bd. 1 only) J.A. Freilich; 2. Smithsonian Institution Libraries. Purchased from the Cullman Endowment. With ink stamp on title pages: Tilhører Grevskabet Christiansholm. There are a few handwritten ink and pencil markings in the margins.

SCNHRB c. 1 has all plates present: Bd. 1. Unnumbered folded table inserted between p. 342 and 343, and plates I-IX (on eight leaves; plates VIII and IX are on the same leaf). Bd. 2. Plates I-VIII, IXA, IX-XIII. Bd. 3. Plates I-XI (plates I and II are on the same leaf; and plates IV and V are on the same leaf). Bd. 4. Plates I-II, IIIa, IIIb, IV-XXI.

SCNHRB c. 1 has a contemporary gilt-tooled full mottled leather binding with raised bands, marbled endpapers, and red edges. The armorial device of Count Adam Gottlob Moltke is stamped in gilt on the front covers; "F-C. Raben", another former owner's name, is stamped in gilt at the foot of each spine.

SCNHRB c. 2 has Bd. 2, only (1776; bc 39088010317352).

SCNHRB Bd. 2, c. 2 has plates numbered I through XIII, plus IXA; all are folded, and some are hand-colored.

SCNHRB Bd. 2, c. 2 has a contemporary full leather binding with raised bands, gilt-tooled spine, red paste-paper endpapers, and red edges. "59" is pasted on the front cover in white [vinyl?] numbers, with the shelf-mark "G-59" penciled on a front free endpaper, from an unidentified former owner.

Slate notebook used by Bishop Benjamin Tanner

National Museum of African American History and Culture
Bound writing slates that belonged to Bishop Benjamin Tucker Tanner of the African Methodist Episcopal Church. The object is constructed of three (3 double-sided, framed slates joined together with gummed paper on the spine that allows it to open like a book. The front and back covers are covered in dark brown leather with maroon undertones. Gold embossed lettering centered on the front cover reads [Notes]. A swirling, leafy design surrounds the "N." The inside front cover is covered in peach, blue, and white marbled paper with a piece of discolored white paper adhered on top. Handwritten text in black ink on the paper reads [To Bishop B.T. Tanner D.D. / by his friend Abraham Grant / May 19th 1898]. Each slate is framed in brown wood. The edges of the slates appear to be covered in blue and white paper. There is black printed text on the frame of the first slate. The top is marked [A.W. FABER No. 2], and the bottom is marked [MADE IN GERMANY.] The inside of the back cover is covered in red, blue and white marbled paper. There is a fabric tube attached to the inside back cover, possibly for holding chalk. The back cover is blank.

Bodhisattvas and monks, from Cave 224

Freer Gallery of Art and Arthur M. Sackler Gallery

Male figure

National Museum of African Art
Wood standing male figure with upraised right arm with hand in fist, and left hand on hip. Figure has a mirror covered resin box on its torso, glass inset eyes, fiber collar and leopard teeth pendants, nails and metal in proper left shoulder and the remains of a resin medicine pack on its head.

Shrine figure

National Museum of African Art
Shrine figure composed of a base, neck and head covered with organic residue. The head and neck are one piece that rests inside its base. The head consists of a human face with an elongated bird's beak. The top consists of incised, cross-hatched designs, raised median crests and perforations. A horn embedded with medicines was placed into one of the perforations. Extending from the back of the skull is a carved unidentified figure.

Weekend, Volume 9, Number 52

National Museum of African American History and Culture
Volume 9, Number 52 of the Weekend newspaper. The paper contains photographs and articles about events, music and dining in New York.

Brochure for the Fort Dupont Hockey Club

National Museum of African American History and Culture
A trifold brochure for the Fort Dupont Ice Hockey Club Program. The brochure is made of off-white paper with black ink designs, images, and text. The cover of the brochure has the Fort Dupont Hockey Club seal. Below the seal, large black text reads [Fort Dupont / Ice Hockey / Program]. Below the text is an image of two hockey players and a referee in positioned to take a faceoff. The interior has black text and images. The information sections include [On-Ice Activities / Classroom Activities / Companion Hockey Programs / Fort Dupont Ice Hockey Program]. Three different images show action shots of ice hockey players. The back of the brochure has information about the mission of the Fort Dupont Hockey Club, the club seal, and club contact information.

Excavation of Persepolis (Iran): Reconstruction of Pottery with Painted Patterns: Three Conical Vases with Geometrical Ornaments, from Prehistoric Mound of Tal-i Bakun (PPA) [drawing]

Freer Gallery of Art and Arthur M. Sackler Gallery Archives
Drawing related to a trial excavation at the western mound, Tall-i-Bakun A, carried out by Ernst Herzfeld in the summer of 1928, or a campaign of excavation at the same mound under the auspice of the Oriental Institute of the University of Chicago, carried out by Alexander Langsdorff under Ernst Herzfeld's direction between March 25, 1932 and July 21, 1932.

Finding aid available in the Archives Department and on Internet http://www.asia.si.edu/archives/finding_aids/herzfeld.html#series5

Handwritten notes on mat, possibly refering to unidentified publication reads, "Tafel LXI."

Handwritten notes on drawing paper reads, "D-483: [profile] 4; D-484: [profile] 13; D-485: [non located inventory number] 2343A."

Excavation of Samarra (Iraq): Balkuwara Palace: Watercolor Plan [drawing]

Freer Gallery of Art and Arthur M. Sackler Gallery Archives
- Title is provided by Xavier Courouble, FSg Archives cataloger, based on Thomas Leisten's publication, Excavation of Samarra, vol 1.

Drawings related primarly to the first campaign of excavation at Sāmarrā' (Iraq), carried out by Ernst Herzfeld on behalf of the Kaiser Friedrich Museum in Berlin in 1911.

Finding aid available in the Archives Department and on Internet http://www.asia.si.edu/archives/finding_aids/herzfeld.html#series7

Additional information reads, "During the relatively short period of work at Manqūr / Balkuwārā in the summer and early fall of 1911, Herzfeld's efforts focused mainly on the central reception block between the third courtyard and the so-called river garden above the Tigris, especially on the eastern Īwān and some adjacent easterly rooms. He surveyed the rest of the reception block of the palace, including the cruciform domed hall in the center as well as the courtyard houses and ancillary complexes with the two maidāns to the south and north and added their general outlines, as far as they were visible among the ruins, to the plan. Herzfeld was certainly interested in the main architectonic features of the palace, but at the same time had hoped to uncover new varieties of stucco wall ornaments and to make major ceramic finds. In both he was disappointed. This probably contributed to his decision to stop the work on the site at the end of September 1911." [Leisten, Thomas, 2003: "Excavation of Samarra, v. I. Architecture : Final report of the first campaign 1910-1912. Verlag Philipp von Zabern, Mainz am Rhein, 2003. p.91."]

- Handwritten annotations in German reads, "Afgenommen (?) von E. Herzfeld."

- Handwritten number, probably by Joseph upton, reads, "D-1019."

- Additional information from staff reads, "multiple annotations in English, probably for publication."

- Additional information from Finding Aid reads, "Samarra. Plan of unidentified palace. Water-color."

Edward Steichen portraits of Charles Lang Freer, 1916

Freer Gallery of Art and Arthur M. Sackler Gallery Archives
Edward Steichen (1879-1973) was an American painter and photographer born in Bivange, Luxembourg. He became a naturalized citizen in 1900. Steichen began his career as a fine art painter, but he soon took up the pictorialist approach to photography, going on to establish the Little Galleries of the Photo-Secession with Alfred Stieglitz. During World War I, Steichen moved into straight photography, serving as Director of the Naval Photographic Institute during World War II and winning an Academy Award for Best Documentary for his 1945 film "The Fighting Lady". He is perhaps most well-known for his curatorial work for the 1955 photography exhibition "The Family of Man" at the Museum of Modern Art in New York. Steichen selected more than 500 images from professional and amateur photographers in over 68 countries to depict universal themes of the human experience, such as birth, death, war and illness. The exhibition traveled to 38 countries and was viewed by over 9 million people, resulting in an equally successful book of the same name, which included an introduction by Steichen's brother-in-law, the poet Carl Sandburg.

Charles Lang Freer (1854-1919) was an American railroad-car manufacturer from Detroit, Michigan who amassed a large fortune as one of the founders of the Peninsular Car Company, which would go on to become American Car and Foundry. In the latter part of the 19th century, Freer was diagnosed with neurasthenia, the prescribed treatment for which was usually rest and avoidance of stressful activities. Freer began collecting art, starting with American masters and impressionist painters. Early on, Freer met and began collecting the works of James Whistler, who advised him to start collecting Asian art. Freer traveled to China, Japan and Korea, amassing a large private collection. Early in the twentieth century, Freer decided to donate his art to the public; in 1916, construction began on what is now known as the Freer Gallery of Art at the Smithsonian Institution. The building, which was paid for by Freer, cost one million dollars. Completion was delayed by World War I and the gallery was not opened until 1923. Freer died in 1919, leaving the bulk of his art collection to the federal government. This photograph comes originally from the Estate of Clarence P. Freer, nephew of Charles Lang Freer.

Purchased, April 1993.

Three photographic platinum prints, signed by Steichen in pencil on the image, numbered in an unidentified hand in pencil on the reverse.

Persepolis (Iran): Tachara Palace (Palace of Darius) [graphic]

Freer Gallery of Art and Arthur M. Sackler Gallery Archives
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.

Glass negative numbered FSA A.4 2.12.GN.35.09; available in Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs.

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.

Antoin Sevruguin photographs in the Myron Bement Smith collection are part of the "Islamic Archives," a collection assembled in part by the Committee for Islamic Culture under the direction of architectural historian Myron Bement Smith (1897-1970). The widow of Myron Bement Smith, Katharine Dennis Smith, donated her husband's papers to the Smithsonian Institution in 1972. The collection was housed in the National Museum of Natural History. Mrs. Smith granted partial rights of the materials to the Institution in 1973 and full rights, interests, and title in 1985. The collection was transferred to the Freer Gallery in 1977.

According to the official minutes of the fourth meeting of the Committee for Islamic Culture, held on September 15, 1951, Myron Bement Smith viewed and purchased 82 black-and-white gelatin silver photoprints of part of Antoin Sevruguin's negatives when he visited Sevruguin's shop in Tehran (Iran) in 1934.

- On recto of the print, handwritten number (inked, probably by Antoin Sevruguin) reads, "894."

- 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; Fārs; Persepolis (Takht-I Djamshīd; gateway - unidentified figures, doorway at treasury."

Qum (Iran): Ali bin Ja'far al-Sadiq Imamzade [graphic]

Freer Gallery of Art and Arthur M. Sackler Gallery Archives
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.

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.

Antoin Sevruguin photographs in the Myron Bement Smith collection are part of the "Islamic Archives," a collection assembled in part by the Committee for Islamic Culture under the direction of architectural historian Myron Bement Smith (1897-1970). The widow of Myron Bement Smith, Katharine Dennis Smith, donated her husband's papers to the Smithsonian Institution in 1972. The collection was housed in the National Museum of Natural History. Mrs. Smith granted partial rights of the materials to the Institution in 1973 and full rights, interests, and title in 1985. The collection was transferred to the Freer Gallery in 1977.

According to the official minutes of the fourth meeting of the Committee for Islamic Culture, held on September 15, 1951, Myron Bement Smith viewed and purchased 82 black-and-white gelatin silver photoprints of part of Antoin Sevruguin's negatives when he visited Sevruguin's shop in Tehran (Iran) in 1934.

"The Ilkhanid tomb was built in the earlier years of 14th century. It has a sixteen-sided tent or Sugarcone dome." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]

- On recto of the print, scratched handwritten number (inked, probably by Antoin Sevruguin) reads, "1606."

- 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; Unidentified Mosque."
31393-31416 of 31,642 Resources