Tomb of the Khan of Khiva at Teheran

Art Historical Context

In 1859, Italian photographer Luigi Pesce captured majestic *Tomb of the Khan Khiva at Teheran* using the then-revolutionary albumen silver print process from a paper negative. photograph, now housed in the Metropolitan Museum Art's Photographs Department (gift of Kay Gregory, 7), offers a rare early glimpse into 19th-century Persian architecture Pesce, known for his travels through the Middle East and Central Asia, expertly framed the tomb's ornate facade, highlighting its intricate tilework and domes that blend Islamic architectural traditions. The albumen silver print, popular from the 1850s onward, used egg whites to create a glossy surface that yielded sharp details and warm tones—ideal for documenting monumental structures like this tomb. Paper negatives, less common than glass by this era, allowed portability for Pesce's expeditions, preserving architectural nuances that might otherwise be lost to time. Historically, the tomb commemorates a Khan from the distant Khiva Khanate (in modern Uzbekistan), underscoring Tehran's role as a cultural crossroads under Qajar rule. This image not only showcases Pesce's technical prowess but also bridges Persian and Central Asian heritage, inviting visitors to ponder the Silk Road echoes in Iran's capital.

About the Artist

Luigi Pesce · 1818–1891

**Luigi Pesce (1828–1864)** was an Italian colonel and pioneering amateur photographer from Naples in the Kingdom of the Two Sicilies, whose work captured some of the earliest images of Iran's ancient monuments and 19th-century life. Arriving in Persia in 1848 during the reign of Naser al-Din Shah Qajar, Pesce was tasked with training Iranian infantry units, a mission that positioned him ideally t...