Nurdan KÜÇÜKHASKÖYLÜ 1 ANTRANİK EFENDİ: THE 19TH CENTURY OTTOMAN COURT PAINTER

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1 Akademik Sosyal Araştırmalar Dergisi, Yıl: 3, Sayı: 12, Haziran 2015, s Nurdan KÜÇÜKHASKÖYLÜ 1 ANTRANİK EFENDİ: THE 19TH CENTURY OTTOMAN COURT PAINTER Abstract In this study, we evaluate the activities of Antranik Efendi, an Armenian from Istanbul who made medallion portraits mainly on ivory, from the era of Sultan Abdulhamid II until the 1920's. Thanks to the Topkapi Palace Museum, Dolmabahce Palace Museum, various private collections and Prime Ministry Ottoman Archive documents, the profile of the artist in an Istanbul ambiance was explored. When all the art pieces by Antranik Efendi detected in museums and private collections were examined, it was evident that he was active from the 1870's and became prominent in tasvir-i humayun/medallion portraiture, which was prevalent in the painting of the era. Painter Antranik, who created Sultan portraits in the eras of Sultan Abdulhamid II, Sultan Mehmed Reşad and Sultan Vahdeddin on orders from the palace, was also known as a photographer and carver. He continued portraying Sultans, which developed as a separate branch in Ottoman art, with his work in the years when painting and photography were frequently applied together, until the beginning of the 20th century. Keywords: Ottoman Artists, Antranik Efendi, Armenian Artists, Sultan Portraits. 19. YÜZYIL OSMANLI SARAYI NDAN BİR RESSAM: ANTRANİK EFENDİ Özet Bu çalışmada, daha önce hakkında ayrıntılı bir çalışma yapılmamış olan, Sultan II. Abdülhamid döneminden 1920 li yıllara kadar fildişi üzerine madalyon portreler yapan, Ermeni asıllı İstanbullu Antranik Efendi nin eserleri değerlendirilmiştir. Topkapı Sarayı Müzesi, Dolmabahçe Sarayı Müzesi, çeşitli özel koleksiyonlar ve Başbakanlık Osmanlı Arşivi belgeleri ışığında sanatçının İstanbul sanat ortamındaki profili ele alınmıştır. Antranik Efendi nin müze ve özel 1 Asst. Prof. Dr.,Anadolu University, Faculty of Arts, Department of Art History, Eskişehir / Turkey. nkucukhaskoylu@anadolu.edu.tr

2 117 Antranik Efendi: The 19th Century Ottoman Court Paınter koleksiyonlarda saptanan tüm eserleri incelendiğinde, 1870 li yıllardan itibaren etkin olduğu ve dönemin resim sanatında yaygınlaşan tasvir-i hümâyûn / madalyon portre sanatında öne çıktığı anlaşılmıştır. Sultan II. Abdülhamid, Sultan V. Mehmed Reşad ve Sultan Vahdeddin dönemlerinde saraydan gelen siparişler doğrultusunda padişah portreleri yapan ressam Antranik, aynı zamanda fotoğrafçı ve hakkâk olarak da tanınmıştır. Resim ve fotoğraf sanatının sıkça birlikte uygulandığı yıllarda yaptığı eserlerle Osmanlı resim sanatında ayrı bir dal olarak gelişen padişah portreciliğini 20. yüzyıl başına kadar taşımıştır. Anahtar Kelimeler: Osmanlı Ressamları, Antranik Efendi, Ermeni Sanatçılar, Padişah Portreleri. INTRODUCTION Starting from the second half of the 18 th century, non-muslim Ottoman painters (mostly Greeks and Armenians) contributed to the development of Western style painting, alongside the European and Levantine painters who had been particularly influential in the art environment of İstanbul. The reasons behind their widespread effect on the rising popularity of canvas painting can be explained by their European educational background, foreign language skills, interaction with foreign painters visiting Istanbul and former experience in creating pictures for their churches. Their contributions to launching painting studios, decorating the interiors of palaces and pavilions, drawing paintings for the royal family (to name a few: Parseğ, Rafael Manas, Zenop Manas, Kostantin Kapıdağlı) including Ottoman emperors (sultans) explain the pivotal position they occupy in the art history of the Ottomans. 2 Within the framework of the activities of non-muslim Ottoman artists, Armenian-descendant İstanbulite painter Antranik Efendi, who created ivory medallion portraits during the Sultan Abdülhamid II era ( ) until the 1920s but whose works have not yet been analyzed elaborately is scrutinized in the present study. 3 With the benefit of the Topkapı Palace Museum, Dolmabahçe Palace Museum, a set of private collections, Ottoman Archive documents of Prime Ministry, old newspapers and Armenian resources the artist s profile in the art environment of İstanbul at that time will be explored 4. 2 For some other research on Ottoman non-muslim artists, see Renda, G. (1977). Batılılaşma Dönemi Türk Resim Sanatı ( ). Ankara: Hacettepe University; Renda, G. (1996). Ressam Kostantin Kapıdağlı Hakkında Yeni Görüşler. 19. Yüzyıl İstanbul unda Sanat Ortamı, İstanbul: Sanat Tarihi Derneği, ; Renda, G. (2000). Portrenin Son Yüzyılı S. Kangal (Ed.), Padişah Portresi, Tasvir-i Al-i, Osman içinde (s ). İstanbul: Türkiye İş Bankası; Pamukciyan, K. (1990). Osmanlı Döneminde İstanbul Sergilerine Katılan Ermeni Ressamlar. Tarih ve Toplum, 80, 34-98; Kürkman, G. (2004). Osmanlı İmparatorluğu nda Ermeni Ressamlar I-II. İstanbul: Mathusalem; Küçükhasköylü, N. (2007). Dolmabahçe Sarayı nda Bir Ressam: Josef Manas, 150. Yılında Dolmabahçe Sarayı, İstanbul: Milli Saraylar Daire Başkanlığı, s ; Küçükhasköylü, N. (2011). Osmanlı Sarayında Ermeni Ressamlar: Manas Ailesi, Hacettepe Üniversitesi Edebiyat Fakültesi Dergisi, Haziran, A paper was presented in March 2005 at Ankara University about the paintings of Antranik Efendi constituting the subject of the present study: (Küçükhasköylü) Sürbahan N. (2005). 19. yüzyıl Osmanlı Sarayı ndan Bir Ressam: Antranik Fendyan. (Yayımlanmamış bildiri). Sanat Tarihinde Gençler Sempozyumu, Ankara Üniversitesi / DTCF, Ankara. For an additional shorter review see (Küçükhasköylü) Sürbahan N. (2002). 19. Yüzyıl Osmanlı Sarayı nda Ressam Manas Ailesi. (Unpublished Master s Thesis), Hacettepe University Institute of Social Sciences, Department of Art History, Ankara, (s.40-42). 4 I would like to extend my gratitude to the Dolmabahçe Palace and Topkapı Palace Museum authorities, Mrs. G. Sevinç Kaya and A. Çötelioğlu who assisted me greatly during my research in these museums.

3 Nurdan Küçükhasköylü 118 A thorough analysis of the entire selection of Antranik Efendi works detected in museums and private collections 5 indicates that he was particularly dominant from the 1870s 6 and became especially prominent in the popular tasvir-i hümâyûn / medallion portrait painting form of the era. Tasvir-i hümâyûn (medallion portrait) medals of the Sultans referred to a medallion shaped portrait of around 5-6 cms diameter hung on the neck by a chain. In addition to being used as a necklace, some medallions were used for display or as ornamentation on jewelry boxes. Commonly drawn on ivory, pearl, photographs or paper these portraits were grouped as tasvir-i hümâyûn medals, portrait medals, ivory portraits or miniature/medallion portraits according to their technique or type (Küçükhasköylü, 2007, ). 7 Creating medallion portraits became popular during the reign of Sultan Mahmud II ( ) and lasted until the 1920s. Parallel to the reforms he heralded, the Sultan aimed to popularize his image and ordered the creation of tasvir-i hümâyûn medals depicting his smallscale portrait. Renowned as the top rank medal, this was granted to state authorities, and internal and external representatives. Additionally, he ordained that his portraits be hung in public offices (Baykara, 1980, ; Renda, 1999, ). 8 In the history of Ottoman painting the earliest recorded medallion portrait on ivory was created by Spanish painter Marras for Sultan Mahmud II (Renda, 2000, 509). During the reign of Sultan Abdülmecid ( ) French painter Jean Portet 9, Ottoman brothers Sebuh and Rupen Manas and their cousins Josef Manas and the Abdullah Brothers were a few of the painters who created medallion portraits on ivory for the royal family (Thiéme-Becker, 1909, 289; Benezit, 1976, 439; Renda, 2000, 513; Küçükhasköylü, 2007, ; Küçükhasköylü, 2011, ). In the present study, the first section deals with the artist s medallion sultan-portraiture. In the subsequent section facts on the biography and works of the painter will be provided. Sultans Portraits Antranik Efendi was notably regarded for his sultan portraits during the reigns of Sultan Abdülhamid II ( ), Sultan Mehmed Reşad ( ) and Sultan Vahdeddin ( ). During the administration of the last two sultans in particular, he received a number of orders from the palace and while Abdülhamid II was on the throne in the 1890s he sketched gravures for Servet-i Fûnun (Wealth of Sciences) journal. A vast body of these gravures depicts 5 Out of a total of 32 works of Antranik Efendi we could identify until now, 23 are portrait works. 14 are sultan portraits, and 19 are medallion portraits. Also as mentioned below cm size miniature portrait collection attributed to the artist (1922 dated) consists of 37 pieces (Figure 5). 6 Antranik Efendi s earliest recorded work is 1293/1876 dated and signed portrait of Sultan Murad V and three pashas (Hüseyin Avni Paşa, Mehmed Rüşdi Paşa, Mithat Paşa) as paper based pencil drawing. An artist called Ioannides created a gravure form of this drawing (Kürkman, 2004, ). 7 For detailed information and samples see Renda, 2002, ; Küçükhasköylü, 2007, For European samples see Propert. J. L. (1887). History of Miniature Art, London; Williamson. G. C. (1904), History of Portrait Miniatures, London. 8 Tasvir-i hümâyûn medals, since they displayed sultan s image, were revered and treated as holy items and granted an official ceremony. In the 1830s Şerif Abdülmuttalip, Miralay Reşit Bey, Şeyhülislam, Kaymakam Paşa, and Serasker Paşa were invited to the royal palace and awarded with diamond- covered tasvir-i hümâyun medals (Artuk C. and Artuk İ. 1967, 10). In 1838, Ottoman army commander Çerkes Hafız Mehmed Paşa was, in return for his service, rewarded with a tasvir-i hümâyun medal (Cezar, 1995, 97). For other state officers awarded this medal see Artuk C. and Artuk İ., 1967, 10; Moltke, 1967, 87; Renda, 1979, 4; Pardoe, 1997, 166. Additionally, see Prime Ministry Ottoman Archive of Istanbul, Foreign Affairs Decrees (Hİ), no.1984 to find the tasvir-i hümâyun medal granted to the Spanish ambassador. 9 Deceased in 1862, the painter has 1850 dated and signed Sultan Abdülmecid portraits in Topkapı Palace Museum (Topkapı Palace Museum / TSM 17/215, 17/219). Sultan Abdülmecid portraits of Portet, estimated to have arrived in İstanbul in the 1850s, were engraved in Paris before being dispatched to Ottoman Palace (Renda, 2000, 513).

4 119 Antranik Efendi: The 19th Century Ottoman Court Paınter leading names of the age -Egypt s Khedive Tevfik Pasha, Abbas Pasha, Sultan Abdülaziz etc. - and portraits illustrating the photographs of preceding sultans as well as architectural drawings such as Süleymaniye Mosque and Ayasofya-Santa Sophia (Kürkman, 2005, ). Figure 1: Sultan Mehmed Reşad portrait, Antranik signed, Dolmabahçe Palace Museum, Oil painting on photograph (Akat, 1996, 34). Figure 2: Sultan Mehmed Reşad portrait, 1918-dated, Dolmabahçe Palace Museum, Oil painting on photograph (Akat, 1996, 34). Figure 3: Sultan Abdülhamid II portrait, Antranik signed, Topkapı Palace Museum, inv. No. 17/239 (Renda, 2000, 536).

5 Nurdan Küçükhasköylü 120 Figure 4: A monogrammed perfume box bearing Sultan Abdülhamid II portrait, 1918-dated (Portakal, 1999, 82, no.110). Another record testifying to the fact that Antranik Efendi received commissions during the reign of Sultan Mehmed Reşad and worked for the royal family is a 1916-dated document in Dolmabahçe Palace Museum Archive. 10 Known to have been honored by the Sultan, this painter (Sakızyan, 1932, 148) currently has two tasvir-i hümayûn as oil paintings on photography displayed in Dolmabahçe Palace Museum. The Antranik signature is present in only one of them (Figure 1), but the similarity between both paintings makes it reasonable to claim that they were painted by Antranik Efendi. On the unsigned portrait, the date 1334/1918 is visible (Figure 2) (Akat, 1996, 30-34). More evidence pointing to the fact that the painter regularly received portrait commissions is that the Sultan Mehmed Reşad portrait is the same picture of the Sultan in civilian clothes as a bust (Antranik signed 1334/1918 dated bust on ivory) now exhibited in Topkapı Palace Museum (Renda, 2000, 538; TSM 17/241, 9.5 x 7.5 cm). 11 Another work by the same painter is the 1334/1918 dated Sultan Abdülhamid II portrait (Figure 3) signed and painted on ivory during the Sultan Vahdeddin era currently on display at the Topkapı Palace Museum (Renda, 2000, 536) 12. Similar to this portrait, three more Sultan Abdülhamid II portraits were identified one of which is in Topkapı Palace Museum 13, the remaining two are in private collections (Drout-Montaigne, 1999, 5). Next to a medal shaped tasvir-i hümâyuns, A monogrammed Sultan Abdülhamid II portrait appliquéd on a bronze perfume box from year 1334/1918 are among the works of art that can be recognized as Antranik s original works by virtue of their technical and stylish resemblance (Figure 4) (Portakal, 1999, 82, no.110). 14 Coinciding with the year 1918, when a transfer in the sultanate took place, the huge quantity of these paintings suggests the possibility that when Sultan Vahdeddin newly ascended the throne the portraits of former sultans could already have been 10 Dolmabahçe Palace Museum Archive: D.420, ; for further information see Renda, 2000, 460; Renda, 2002, 498. The artist was, according to the resource, recommended to Sultan Mehmed Reşad by Reşad Fuad Bey (Sakızyan, 1932, Duplicating the same technique and style another portrait in which the sultan is standing in uniform (painted with mixed technique on paper) is, according to Renda, a work of Antranik (Renda, 2000, 537; TSM 17/240, 16.5x11 cm). The painter most probably created this work using photographs by Foto-Apollon. For parallel samples see Çoruhlu T. and Çötelioğlu A. (1996). Askeri Müze Resim Koleksiyonu, İstanbul: Askeri Müze Kültür Sitesi. For further information on Foto-Apollon see Özendes, E. (2013). Osmanlı İmparatorluğu'nda Fotoğrafçılık, , İstanbul: Yem. 12 Topkapı Palace Museum, Inv. No. 17/ Topkapı Palace Museum, Inv. No. 17/ It is recorded that when returning to France from his İstanbul duty French ambassador Antoine Marie Valette ( ) was given a box with tasvir-i hümâyun as a gift (Ahmed Rasim, 1968, ). As this record attests, jewelry boxes with tasvir- hümâyun ornamentation were starting to be manufactured beginning from the rule of Sultan II Mahmud. The official records on the manufacturing and selling of such boxes are available in Prime Ministry Ottoman Archive, (Foreign Affairs Decrees (Hİ), 1264 /1848, no:2248).

6 121 Antranik Efendi: The 19th Century Ottoman Court Paınter ordered. Indeed, the 1334/1918 dated and signed Sultan Vahdeddin portrait confirms this deduction and indicates that the artist resumed palace commissions during the new sultanate era (Renda 2000: 538; TSM 17/243). 15 On the other hand, currently displayed in the Topkapı Palace Museum Sultan Vahdeddin section, is a collection of 37 medallion portraits (Figure 5) of all Ottoman sultans and a medallion shaped portrait of Caliph Abdülmecid on a 1922-dated ivory base that are attributed by Renda to Antranik by virtue of their technical and stylish resemblance to the other signed portraits. In these portraits listing the names and sultanate periods of all the sultans until Sultan Selim III, a similarity with the Young Album was noted (Renda, 2000, 539; TSM 17/204). 16 Sized approximately 2x4 cms, these miniature portraits were framed over a velvet base to exhibit all Ottoman sultans portraits collectively. 17 This group of work attests that until the last stages of the Ottoman Empire, the artist continued the tradition of royal medallion portraits, like his counterparts the Abdullah Brothers and Josef Manas. Figure 5: Medallion shaped Sultan portraits collection, dated 1922, Topkapı Palace Museum, Inv. No. 17/204 (Renda, 2000, 539). Other works Aside from sultan portraits, Antranik Efendi also drew ivory-based portraits of royal family members such as Caliph Abdülmecid and Cem Sultan (Figure 6). The latest record of the painter is the 1339/1923 dated Caliph Abdülmecid portrait (TSM 17/244) that holds value by proving that he remained active and effective until the proclamation of the Republic. In addition to medallion portraits he also created large canvas paintings, 18 and by making use of the photographs once more, he produced the kind of paintings reflecting the life and ceremonies of the palace at the time. To illustrate, in a private collection (12.5x16.5 cm, mixed technique on 15 Antranik Efendi s 1922-dated Sultan V Murad portrait on ivory base testifies that the artist continued painting former sultans portraits in the 1920s (Renda, 2000, 536, TSM 17/237, 8.5x7 cm). 16 It is acknowledged that Sultan III Selim ordered the sultan portraits collection of Kostantin Kapıdağlı to be printed in Europe. Eventually, in 1815 during the rule of Sultan II Mahmud this collection was printed in London by John Young (Renda, 2000, 443). To see the albums prepared in the model of this selection named the Young Album refer to Renda, G. (1992). Osmanlı Padişah Portreleri. Bir 19. Yüzyıl Albümü / A 19th Century Album of Ottoman Sultans' Portraits, Milano: Amilcare Pizzi. 17 The artist not only made use of the Young Album; but also the works of Ivan Ayvazovski, Henri Guillaume Schlesinger, Jean Portet, Wilhelm Reuter, Sebuh Manas, Josef Manas, the Abdullah Brothers, Simeon Agopyan and many other artists and photographers. For the samples see (Tuğlacı, 1983, 30; Renda, 2000, ,506, 525, 536; Kürkman, 2004, 135). 18 See Kürkman, 2004, for an 1887 dated portrait signed in the Latin alphabet as Antranik on canvas base oil painting (96x71 cm) and still-life paintings.

7 Nurdan Küçükhasköylü 122 cardboard) there is a signed work of the artist depicting Sultan Abdülhamid II s Sacrifice Feast reception in Yıldız Palace hall (Şale Mansion, Great Hall) honored by shayk-al-islam (Figure 7) (Sotheby s, 1997, 127). 19 Echoing the soldier painters generation of his age, he also painted pictures of palaces and mansions or colored their photographs. Among this group of works is an illustration of Yıldız Palace Great Mabeyn Mansion not signed but stylistically very close to Antranik Efendi 20 in Topkapı Palace Museum and we assume that the work was created on ivory by making use of a photograph (TSM 17/238) (Figure 8). It is most likely that a dated photo shot by photographers Sebah & Joaillier -within the same composition- was used as a replica. 21 Figure 6: Antranik Efendi, 1880-dated Sultan Cem portrait, Private collection, 6.3x5.2cm. Figure 7: Antranik Efendi, Sultan Abdülhamid II s Kurban Bayramı (Sacrifice Feast) reception in Yıldız Palace, Private collection, 12.5x16.5cm. About the artist As shown in this study, painter Antranik Efendi had established his influence as of the age of Sultan Abdülhamid II and continued producing artistic works until There is as yet a limited amount of information on the identity, life and educational background of this particular artist who predominantly drew portraits of royal family members However, it is still important 19 A sample of the potential photo that the artist reflected in his post 1898 dated work can be seen in Ayşe Osmanoğlu s book: Babam Abdülhamid (Osmanoğlu, 1960, 48-49). 20 Antranik Efendi mostly preferred a mixed combination of yellow and green colors as the background tone of his paintings. 21 This finding indicates that the work dates to post See Özendes, 1999, 135; Tekinalp, 2004,

8 123 Antranik Efendi: The 19th Century Ottoman Court Paınter to analyze relevant documents and records: In Sicill-i Ahval records it is considered that Mikaeloğlu Antranik, born in 1850 or 1851, is the given name of Antranik Efendi but this is not solid fact. 22 On the other hand, the painter referred to as Antranik Efendi in most of the resources (there are also Antranik Fendyan / Fendiyan versions as a result of dropping the 'i' syllable as is a common practice in Armenian surnames) is named as Antranik Allahverdi in Kürkman s work. Based on this verification we hold the belief that the Antranik Asdvadzaduryan mentioned in Özendes s work is the same Antranik Efendi in our study since in Armenian Asdvadzaduryan is the equivalent of Allahverdi (God s gift). The painter is mentioned with the Turkish version of his surname in some sources. 23 Figure 8: Yıldız Palace Great Mabeyn Mansion depicted on ivory, 14x10cm, Topkapı Palace Museum Env. No. 17/238. Figure 9: Yıldız Palace Great Mabeyn Mansion, Sebah & Joaillier, 1900-dated photograph (Özendes, 1999, 135). In a letter addressed to Kevork Abdullah in Özendes research on the Abdullah Brothers (1998, 165), a photographer and miniaturist named Antranik Asdvadzaduryan was mentioned. An excerpt from this 11 April 1893 dated İstanbul letter to Cairo is: photographer Antranik changed my daughter s photograph so nicely that it became much more beautiful than mine. Surely I felt jealous. Fortunately he assured me that he would make my photograph nicer too. As seen, Antranik Efendi is described as a photographer here (Özendes, 1998, 165). The records also reveal that he continued working till his 80s and never left Samatya until his demise. It is of importance that the artist who made use of the original photos while painting was also known as a photographer. In a 1313/1898 dated document from the Sultan Abdülhamid II era, the artist 22 Prime Ministry Ottoman Archive of Istanbul (BOA), Sicill-i Ahval Defterleri, F.8, no.11989; Sürbahan (Küçükhasköylü), 2002, There is another Antranik (Antranik Assadour) in some sources but there is no detailed information on his identity (Germaner S., İnankur Z., 2002, 70). Another Antranik, according to some resources, used to work in Yıldız Palace Porcelain Factory in the 1890s: see Shaw, W. (2011). Ottoman Painting: Reflections of Western Art from the Ottoman Empire to the Turkish Republic, London-New York: I.B.Tauris, 38.

9 Nurdan Küçükhasköylü 124 is also named as a carver. 24 There are also some documents indicating that as a renowned master of medallion portraits this painter was equally celebrated in Egypt (Avédissian, 1959, 398; Renda 2002, 498). His studio is known to have been located at 15 Timoni Street, Pera between 1920 and 1921 (Kürkman, 2005, 133). 25 Conclusion Known as Antranik Asdvadzaduryan, Antranik Allahverdi, or Antranik Fendyan, photographer, carver and painter Antranik Efendi was among the last Ottoman painters who, in an age when painting and photography art forms were traditionally mixed, continued Sultan Portraiture, (which had existed as a separate branch in Ottoman painting tradition since the 16 th century) to the onset of the 20 th century. As records indicate, he was engaged in both professions just like his close counterparts Simeon Agopyan, the Abdullah Brothers and Josef Manas. In those years, a number of photography and painting studios/painters and photographers cooperated and very aptly ignited the art market (Pamukciyan, 1990, 34; Küçükhasköylü, 2011, ). It thus goes without saying that non-muslim Ottoman artists played a critical role in popularizing western painting styles and photography, thus contributing to the creation of a favorable art environment and market. To conclude, with his gravures, medallion portraits, panorama pictures, still-life paintings and colored photographs created from the 1870s until the 1920s, Antranik Efendi occupied a remarkable position by virtue of his sultan portraits commissioned by the royal palace and his contribution to the Pera / İstanbul art environment in which photographers, painters, engravers, decorators and architects collectively flourished. BIBLIOGRAPHY AHMED RASİM (1968). Osmanlı Tarihi. İ. Parmaksızoğlu (Haz.). İstanbul: Milli Eğitim Bakanlığı. ANONYMOUS (1996). Art Ottoman, Provenant des Collections S.A.I. Ottomane le Prince X Sultan Abdul Hamid II ( ). Paris. ANONYMOUS (1997). Sotheby s, The Turkish Sale (17 October 1997), London: Sotheby s. ANONYMOUS (1999). Drout-Montaigne, Arts D Orient, Juin. Paris. ANONYMOUS (1999). Portakal Sanat ve Kültür Evi, Osmanlı Sanat Eserleri Tablo ve Hat Müzayedesi, Avlonyalı. İstanbul. ARTUK, İ., ARTUK, C. (1967). Osmanlı Nişanları, İstanbul: İstanbul Matbaası. AVÉDISSIAN, O. (1959). Peintres et Sculpteurs Arméniens, Le Caire. BAYKARA, T. (1980). II. Mahmud ve Resim. Bedrettin Cömert e Armağan. Ankara: Hacettepe Üniversitesi, This record testifies to awarding Antranik Efendi with the industry medallion: BOA, Taltifat İradeleri (Award Decrees), vol. IV, (1313/1898). no.1439 (12-B/26-10). 25 Kürkman establishes this information on 1921 dated Annuaire Oriental (Oriental directory, commerce, Industry, administration, magistrature, Editeur-Propriétaire Alfred Rizzo, Constantinople source. He also claims that it is quite improbable that Antranik Allahverdi and Antranik Asdvadzaduryan (Astvatzaduryan / Asvazaduryan) can mean the same person (Kürkman, 2005, 133).

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