Ɵ Sharaf and Sherafat, rare limited edition facsimile publication [Offset Press, Tehran, April 1976]

Ɵ Sharaf and Sherafat, rare limited edition facsimile publication of the two monthly periodicals, containing issues 1-87 (1882-1891) from Sharaf and 1-66 (1896-1903) from Sherafat, printed by the Pahlavi Imperial Organization for Social Services, apparently for private circulation [Offset Press, Tehran, April 1976]single volume, containing over 150 facsimile portraits of Qajar, European, Russian, Egyptian and Chinese Nobility and Royalty, plus numerous additional illustrations of historical palaces and important monuments, titles printed in English and Farsi, internally in exceptionally clean and crisp condition, original pastedowns printed with the imperial emblem, endpapers a little scuffed and creased in places, folio 380 by 250 mm.; original decorated boards, covers in the style of Islamic bindings with gilt motifs to the centre of covers, spine gilt in compartments in the western style, outer corners of covers with silver-coloured corner-pieces, with red 'label' bearing the title of the work in gilt, creases and spine ends worn with fractional lossAn extraordinarily large and impressive publication, commissioned by the Imperial Pahlavi Organization for Social Services, containing facsimile copies of the two Qajar monthly periodicals entitled Sharaf and Sherafat. These periodicals were first printed between 1882 and 1903 and include many interesting articles and musings that offer unparalleled insight into Persian culture at the time. The original publications of these periodicals are exceptionally rare and the facsimile is equally so because it was published under Imperial patronage a few years before the revolution, after which many were destroyed.The many portraits included here were originally drawn for the publication by Abu Torab Ghaffari and Mirza Musa (for Sharaf) and Mehdi Mosavverolmolk (for Sherafat) and include depictions of both Iranian and non-Iranian dignitaries as well as international buildings of significance. The realistic style of portraiture and painting techniques endorsed by these two artists coincides with the rise of photography in Iran, and the outcome of their work is very representative of this artistic movement towards realism. Nassreddin Shah Qajar was a strong advocate for photography in the nineteenth century and there was a distinct feeling then that this new form of art could preserve the history, culture and inhabitants of a nation through their images, resulting in a rich collection of historical photographs from Iran during this period. The impact this movement had on wider publications, including the present periodicals Sheraf and Sherafat is evident from the hyper-realistic portraiture and imagery endorsed throughout these publications.