A 1963 travelogue captures the vanishing artisanal rhythms of Shiraz, Iran

Iran 1963 Reel 13 of 25 · 18:00 · Video: Penn Museum · Watch at the source

In short: In April 1963, chemical engineer Watson Kintner filmed the bustling bazaars and quiet gardens of Shiraz. His unedited footage offers a rare, unfiltered glimpse into mid-century Iranian life, documenting everything from the intricate mosaic work of ancient tombs to the rhythmic, manual labor of traditional copper smiths and weavers.

Watson Kintner, a radio engineering pioneer at RCA, spent decades documenting global cultures through his travel films. His 1963 expedition to Iran resulted in a vast collection of footage, with Reel 13 focusing specifically on the city of Shiraz between April 16 and 18. The film serves as a visual archive of a world defined by craftsmanship, capturing the meticulous processes of artisans who relied on centuries-old techniques.

The footage highlights the architectural splendor of the region, including the tomb of the poet Hafez and the 250-year-old dome of the Vakil Mosque. Kintner’s camera lingers on the details of the Vakil Bazaar, where the environment was defined by long arched roofs and intricate tile work. Within these spaces, he recorded the physical reality of trade and manufacture: copper vessels being shaped by cold hammering and tinning, and the construction of reed lattice using throw-weight looms.

Beyond the marketplace, the film documents the domestic and spiritual life of the era. It captures prayer discs used to protect foreheads during worship and the ornate mirror mosaics of the 150-year-old Qavami House. By preserving these scenes, Kintner provided a window into the daily existence of a society where the boundary between art and utility was thin, and where the hands of the maker were central to the identity of the city.

Kintner’s broader collection, spanning over 30 countries since 1933, remains a significant resource for understanding the material culture of the mid-20th century. While the footage is unedited and raw, its value lies in this lack of artifice. It allows modern viewers to observe the specific textures of 1963 Iran—from the red roses in garden paths to the makeshift roof construction of the bazaar—offering a grounded perspective on a rapidly changing landscape.

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