Golestan Palace Library

100-1-1

The photograph features a group of men standing together.

The scene appears to be an outdoor setting, possibly in a street or courtyard, with mud-brick buildings in the background.

Based on the clothing and context, the photograph is likely from the late 19th to early 20th century.

The image is in portrait orientation.

The men are positioned in the center, forming a loose semicircle facing the camera.

The ground and lower parts of the men's clothing.

The men themselves, arranged closely together.

The mud-brick buildings and a pathway.

The men are dressed in traditional Middle Eastern attire, including long coats and fez hats. Some are wearing more military-style uniforms, suggesting a mix of civilians and possibly officials or soldiers.

The men vary in age, with facial hair such as mustaches and beards being common. Their expressions are mostly neutral or slightly serious.

The men are standing, some with arms crossed or hands resting in front. One man appears to be holding a cane.

The buildings are made of mud-brick, typical of Middle Eastern architecture from the period. They have simple, flat roofs and small windows.

There are no significant natural elements visible in the photograph.

The only notable props are the canes or sticks some men are holding.

The lighting is natural, suggesting the photo was taken during the day.

The shadows are soft, indicating it might be overcast or taken during a time of day with diffused sunlight.

The attire and setting suggest a historical period in the late 19th to early 20th century, possibly during a time of social or political significance in the Middle East.

The photograph provides insight into the traditional dress and social structure of the time.

Without additional context or identification, it is difficult to determine if any of the individuals are historically significant.

Likely a gelatin silver print, common for the time period.

The photograph shows signs of aging, such as slight fading and potential damage around the edges.

There is handwritten text at the bottom of the photograph. The script appears to be Persian or Arabic.

در قریه لاهیجان ملکی سعید‌السلطنه؛ ۱- سعیدالسلطنه، ۲- خان بابا خان، ۳- فرمان‌فرما، ۴- ژنرال واکنر خان، ۵- حاجی قلی خان میرپنج

At the door of the Sulaimaniya royal house, Bābā Alikhān, 3rd commander of the gendarmerie

37.2009555

50.0093279

100-1-2

The photograph features a large, ornate building, likely a palace or significant public building.

The building is situated in a landscaped garden, with a pathway leading up to it.

Based on the architecture and quality of the photograph, it appears to be from the late 19th to early 20th century.

The image is in portrait orientation.

The building is centered in the frame, with the pathway leading towards it.

A garden with flower beds and a pathway.

The steps and entrance area of the building.

The building itself and surrounding trees.

There are a few people visible, dressed in traditional attire of the period, adding a sense of scale to the photograph.

The individuals appear small relative to the building, highlighting the grandeur of the structure.

The people seem to be casually standing or walking, with some near the steps and entrance.

The building is multi-storied with intricate architectural details, including arches, columns, and balconies. It has a symmetrical design with prominent features typical of Persian architecture.

The garden includes flower beds, trees, and a manicured lawn.

There are no significant props, but the garden's landscaping elements are notable.

The lighting is natural, suggesting the photograph was taken during the day.

Shadows are present, indicating the position of the sun and adding depth to the architectural details.

The building appears to be a significant historical structure, possibly a palace or a governmental building from the Qajar era in Persia.

The architecture and garden layout reflect Persian cultural and historical aesthetics.

Without additional context, it is difficult to identify any specific individuals.

Likely a gelatin silver print, which was common in the early 20th century.

The photograph is well-preserved with clear details and minimal signs of aging.

There is handwritten text at the bottom of the photograph. The script appears to be Persian.

عمارتیکه در نیم فرسنگی شهر تبریز در باغ معروف صاحبدیوان فرمان‌فرما بجهت حضرت والا ولیعهد ساخته است.

This two-story building was specially made for Shah Mozaffar al-Din Shah, completely adorned with jewels, costing sixty thousand tomans, made by master Behbudi Kaghazgar

100-2-1

The photograph features a landscape with a fortified structure atop a hill.

The scene is an outdoor rural area with a combination of natural and man-made elements, including buildings and fortifications.

Based on the architecture and photographic quality, the image likely dates to the late 19th to early 20th century.

The image is in portrait orientation.

The fortified structure is positioned in the upper part of the image, with the hillside and surrounding buildings filling the lower part.

The immediate area around the base of the hill, including some structures and vegetation.

The hillside with buildings at its base and along its slope.

The fortified structure atop the hill and the surrounding sky.

A few figures are visible, possibly wearing traditional attire, but they are not the main focus and are small in the frame.

The individuals appear to be going about their daily activities, adding a human element to the landscape.

The people are likely engaged in everyday tasks, possibly related to farming or tending to animals.

The most prominent feature is the fortified structure on the hilltop. There are also several smaller buildings at the base of the hill, likely made of mud-brick.

The hill itself, some vegetation, and possibly a glimpse of distant mountains.

There are no significant props, but the presence of animals suggests a rural setting.

The lighting is natural, indicating that the photograph was taken during the day.

Shadows are present, suggesting the position of the sun and adding depth to the image.

The photograph captures a historical landscape that likely has significant cultural and historical value, possibly related to regional defense or settlement.

The fortification and traditional architecture reflect the historical and cultural heritage of the region.

Without additional context, it is difficult to identify any specific individuals.

Likely a gelatin silver print, common for the early 20th century.

The photograph appears well-preserved, with clear details and minimal signs of aging.

There is handwritten text at the bottom of the photograph. The script appears to be Persian.

دورنمای سردرود دو فرسنگی شهر تبریز

Exterior view of the Ark of Tabriz.

38.0261024

46.1481408

100-2-2

The photograph features a wide landscape view of a town surrounded by trees and vegetation.

The scene is an outdoor rural area with a distant view of a town or village.

Based on the photographic style and context, the image likely dates to the late 19th to early 20th century.

The image is in landscape orientation.

The town is positioned in the middle distance, with the foreground consisting of open land and vegetation.

Scrubland with sparse vegetation and rocky soil.

The town or village, interspersed with trees.

A horizon line with distant hills or mountains.

There are no prominently visible individuals in this photograph; the focus is on the landscape.

Not applicable as no individuals are clearly visible.

Not applicable.

The town includes various buildings, likely residential houses, characterized by traditional architectural styles.

The area is heavily vegetated with trees and shrubs, indicative of a fertile region.

There are no significant props in the photograph; the focus is purely on the natural and built environment.

The lighting is natural, suggesting the photograph was taken during the day.

Shadows are present, indicating the sun is relatively high, providing a clear and evenly lit scene.

The photograph captures a historical view of a town, likely providing insight into the rural and urban planning of the period.

The image reflects the traditional architecture and settlement patterns of the region.

Without additional context, it is difficult to identify any specific individuals or figures in the image.

Likely a gelatin silver print, common for early 20th-century photography.

The photograph is in good condition, with clear details and minimal signs of aging or damage.

There is handwritten text at the bottom of the photograph. The script appears to be Persian.

دورنمای ده‌خوارقان (آذرشهر)

View of the village of Qajjan.

37.756548

45.978722

100-3-1

The photograph features two men sitting side by side.

The scene is likely indoors, with the men seated against a brick wall on a carpet.

Based on the clothing and photographic quality, the image likely dates to the late 19th to early 20th century.

The image is in portrait orientation.

The two men are centered in the frame, seated closely together.

The carpet on which the men are seated.

The two men.

A brick wall.

The man on the left is wearing a traditional long coat (possibly a frock coat) and a fez. The man on the right is draped in a large cloak and wears a fur hat.

Both men have mustaches, and the man on the right also has a beard. Their expressions are serious and contemplative.

The men are seated with their hands resting on their laps, posing formally for the photograph.

The men are seated in front of a brick wall, suggesting an indoor or semi-indoor setting, possibly a courtyard.

There are no visible natural elements in the photograph.

The carpet they are seated on is a notable prop, adding cultural context.

The lighting appears to be natural or diffused, providing even illumination without harsh shadows.

Soft shadows are present, indicating controlled lighting conditions.

The photograph captures a moment in the late 19th to early 20th century, reflecting the traditional attire and social norms of the time.

The attire and setting suggest a formal or significant occasion, possibly capturing notable figures or a traditional setting.

Without additional context, it is difficult to identify the individuals, but they may be important figures given the formal nature of the portrait.

Likely a gelatin silver print, common for the period.

The photograph is well-preserved, with clear details and minimal signs of aging or damage.

There is handwritten text at the bottom of the photograph. The script appears to be Persian.

شمس‌العلمای تبریز با فرمان‌فرما در قصبه بناب

Shams al-Ulama Tabriz with Shams al-Ulama in the town of Bonab.

37.3458998

46.0664776

100-3-2

The photograph features a solitary, ancient structure in a barren landscape.

The scene is set in a desolate, open area with mountains in the background.

Based on the style of the ruins and the photographic quality, the image likely dates to the early 20th century but depicts a much older structure.

The image is in landscape orientation.

The structure is centered in the frame, with the foreground filled with rocky terrain.

Rocky, barren ground with some scattered stones.

The ancient structure itself, appearing to be in ruins.

Mountains and a vast open sky.

Not applicable as there are no visible people in the photograph.

Not applicable.

Not applicable.

The structure appears to be an ancient building, possibly a temple or mausoleum, characterized by its arched doorway and partially collapsed walls.

The landscape is barren with sparse vegetation, and the distant mountains provide a dramatic backdrop.

There are no significant props; the focus is entirely on the ruins and the natural setting.

The lighting is natural, indicating the photograph was taken during the day.

Soft shadows suggest the sun is not directly overhead, possibly indicating morning or late afternoon.

The photograph captures an ancient structure, reflecting historical architecture and the passage of time.

The ruins likely hold historical and cultural significance, possibly linked to ancient Persian or Islamic architecture.

Not applicable.

Likely a gelatin silver print, common for early 20th-century photography.

The photograph shows signs of aging, such as fading and spots, but the details of the structure are still clear.

There is handwritten text at the bottom of the photograph. The script appears to be Persian.

مصلی دهخوارقان که از بناهای بسیار قدیم است

The praying area and Nakhchivan are located in this area.

37.751218

45.9682614

100-4-1

The photograph features the front view of an ancient brick structure, likely a mausoleum or tomb.

The structure is situated in a barren area, with the immediate surroundings relatively open and undeveloped.

Based on the architectural style and photographic quality, the image likely dates to the early 20th century, depicting a much older structure.

The image is in portrait orientation.

The structure is centered in the frame, with its facade fully visible.

The ground immediately in front of the structure, showing some rough terrain.

The brick structure itself.

Sparse details, likely due to the focus on the structure.

Not applicable as there are no visible people in the photograph.

Not applicable.

Not applicable.

The building appears to be an ancient tomb or mausoleum, characterized by its brick construction, intricate decorative patterns, and arched niches. The structure shows signs of decay, with some parts damaged or missing.

The setting appears to be relatively barren with no significant vegetation or natural features.

There are no significant props in the photograph; the focus is entirely on the structure.

The lighting is natural, indicating the photograph was taken during the day.

Soft shadows suggest the sun is not directly overhead, possibly indicating morning or late afternoon.

The photograph captures an ancient structure, reflecting the architectural and cultural heritage of the region.

The intricate brickwork and architectural details suggest the structure is of significant historical and cultural value, likely linked to a prominent figure or event in the past.

Not applicable.

Likely a gelatin silver print, common for early 20th-century photography.

The photograph shows signs of aging, such as fading and spots, but the details of the structure are still clear.

There is handwritten text at the bottom of the photograph. The script appears to be Persian.

قبر مادر هلاکوخان در مراغه

The tomb of Baba Hassan in the city of Maragheh.

37.3902942

46.2392433

100-4-2

قبر وزیر هلاکوخان در خارج شهر مراغه

100-5-1

The photograph features a large group of people, including men and children, engaged in some form of communal activity.

The scene is set in an alleyway or narrow street between brick buildings, possibly within a town or city.

Based on the clothing and photographic style, the image likely dates to the early 20th century.

The image is in portrait orientation.

The group of people fills the frame, with individuals in the foreground, midground, and background.

Individuals standing and sitting on piles of bricks.

The majority of the group, gathered closely together.

The brick buildings and additional people standing on higher ground.

The people are wearing traditional Persian clothing, including long coats, turbans, and hats. Some are in work attire, suggesting manual labor.

The individuals vary in age, with a mix of adults and children. Their expressions range from neutral to focused.

The people appear to be engaged in bricklaying or construction work, with bricks and construction materials prominently visible.

The scene is flanked by brick buildings, typical of early 20th-century Persian architecture. The alleyway is narrow, with little visible space between the buildings.

There are no significant natural elements visible in the photograph.

Bricks and construction tools are prominently featured, indicating ongoing construction or renovation work.

The lighting appears natural, suggesting the photograph was taken during the day.

Shadows are present but soft, indicating diffused sunlight, possibly from an overcast sky.

The photograph captures a moment of communal labor or construction, reflecting the social and economic activities of the time.

The image provides insight into the traditional construction methods and communal efforts in early 20th-century Persia.

Without additional context, it is difficult to identify specific individuals, but the large gathering suggests a significant communal event.

Likely a gelatin silver print, common for early 20th-century photography.

The photograph is well-preserved, with clear details and minimal signs of aging or damage.

There is handwritten text at the bottom of the photograph. The script appears to be Persian.

جماعت تجار ارامنه و عمله‌جاتی که کشمش پاک می‌کنند و از مراغه حمل به ولایات خارجه می‌کنند

Four hundred people in the school engaged in brickmaking, observed working in the late afternoon.

37.3827961

46.1978566

100-5-2

قبر هلاکوخان در میان شهر مراغه

100-6-1

مسجد جامع مراغه که از بناهای قدیم است

100-6-2

قبر میر مراغه که در خارج شهر مراغه است

100-7-1

باغ حیدرآباد ملکی فرمان‌فرما

100-7-2

غار هلاکوخان که در کنار رودخانه جقبتو از زیر خاک پیدا شده است و الان آب از رودخانه جقبتو به اراضی میان‌دوآب ملکی حضرت اجل افخم صدراعظم از این ممر جاریست

100-8-1

قریه فیروزآباد ملکی فرمان‌فرما

100-8-2

اولاد و اتباع قادرآقای میرپنج در قریه یندرقاج (اگریقاش)

100-9-1

مستقبلین روز ورود فرمان‌فرما بشهر ساوجبلاغ

100-9-2

سواره شیخ علی خان میرپنج، روز ورود ساوجبلاغ

100-10-1

سوار‌ه عزت‌الله خان میرپنج

100-10-2

نصرالدوله امیرتومان

100-11-1

نصرالدوله امیرتومان

100-11-2

میرزا محمود اقبال دفتر وزیر ساوجبلاغ

100-12-1

حسینقلی خان سرتیپ کارگذار موقتی ساوجبلاغ

100-12-2

شیخعلی خان میرپنج

100-13-1

قادر آقای میرپنج

100-13-2

قادر آقا با دو پسرش علی آقا و با پیر آقا

100-14-1

قادر آقا رئیس ایل گورک با حسن آقا برادرش و حسن آقا عموزاده خود

100-14-2

قاضی قادر

100-15-1

مفتی ساوجبلاغ

100-15-2

اسداله خان سرکرده سواره دلیکانلو

100-16-1

نجفقلی خان میرپنج رئیس ایل قراپاپاغ (قره پاپاق)

100-16-2

آقایان منگور : بایزیدآقا - معروف آقا - ... آقا پسر حمزه آقا

100-17-1

میرزا جعفرخان رئیس توپخانه (پوستخانه) - حسینقلی‌خان سرتیپ کارگذار - میرزا سید جعفرخان رئیس تلگرافخانه

100-17-2

اقبال دفتر با اتباع خود

100-18-1

نجفقلی خان میرپنج با صاحبمنصبان سواره قراپاپاغ (قره‌پاپاق)

100-18-2

ایضاً: نجفقلی خان میرپنج با صاحبمنصبان سواره قراپاپاغ (قره‌پاپاق)

100-19-1

باپیر آقا رئیس طایفه منگور در حالت محبوسی

100-19-2

تجار همدانی متوقفین ساوجبلاغ

100-20-1

آقایان منگور: معروف آقا - عبدالرحمن آقا - حسن آقا - همزه آقا؟

100-20-2

ایضاً (آقایان منگور): بایزید آقا رئیس حالیه منگور - صمدآقا - قادرآقا - باپیرآقا - عزیزآقا

100-21-1

ظفرالدوله امیرتومان نایب‌الحکومه ساوجبلاغ و قادرآقای میرپنج با رئسای طایفه منگور

100-21-2

فرمان‌فرما با آقایان اکراد و قراپاپاغ (قره‌پاپاق) و سرکرده‌ها در خارج شهر ساوجبلاغ

100-22-1

تیراندازی توپ در خارج شهر ساوجبلاغ

100-22-2

ایضاً: ۱- فضل‌علی خان سرتیپ، ۲- فرامرز خان سرهنگ، ۳- جواد خان سرتیپ فوج چهارم، ۴- سلیمان خان سرتیپ موزیک، ۵- سلیمان میرزای سرتیپ

100-23-1

توپهای کوهستانی در حالت بار کردن

100-23-2

تماشاچیان روز تیراندازی

100-24-1

عزیز آقای ده‌مکری (ده‌بکری)

100-24-2

شیخ باباسعید مرشد و رئیس دراویش قادری

100-25-1

شیخ بابا و شیخ فخرالدین برادرش

100-25-2

شیخ معروف - شیخ فخرالدین - شیخ احمد - شیخ باباسعید

100-26-1

شیخ باباسعید و دراویش قادری در حالت ذکر

100-26-2

دورنمای ساوجبلاغ

100-27-1

خان‌زاده‌های سقز

100-27-2

عبداله بیک پیشکار با طایفه‌اش

100-28-1

حاجی سلیم خان میرپنج با طایفه‌اش

100-28-2

دورنمای سقز

100-29-1

دورنمای سقز

100-29-2

دورنمای سقز

100-30-1

احمدبیک در سن یکصد و سی

100-30-2

علی آقا پسر قادرآقای گورک

100-31-1

کدخدایان تمربیک

100-31-2

درویش بیک مباشر مشیر دیوان

100-32-1

قریه دیوان‌دره ملکی مشیر دیوان

100-32-2

دورنمای تمامی سنندج

100-33-1

ایضاً (شهر سنندج) - دورنمای سنندج

100-33-2

ایضاً (شهر سنندج)

100-34-1

سنندج

100-34-2

عمارت خسروی

100-35-1

دورنمای سنندج

100-35-2

ایضاً (سنندج)

100-36-1

مشیر دیوان

100-36-2

آصف دیوان

100-37-1

بهجةالملک امیرتومان با اجزای حکومت

100-37-2

سید حکیم - آصف دیوان - بهجةالملک - مشیر دیوان - مستوفی‌باشی

100-38-1

مستوفی‌باشی

100-38-2

بهجةالملک امیرتومان

100-39-1

امیرنظام - فرمان‌فرما - عبدالحسین‌خان - قاسم‌خان سرتیپ

100-39-2

فرمان‌فرما - عبدالحسین‌خان امیرتومان

100-40-1

حاجی خان مهندس

100-40-2

فرمان‌فرما با اجزاء مخصوص خودشان هنگام آمدن به تهران

100-41-1

فرمان‌فرما با اجزاء مخصوص خودشان هنگام آمدن به تهران

100-41-2

فرمان‌فرما

100-42-1

فرمان‌فرما

100-42-2

خانه‌زاد حاجی سید فضل‌علی