A 1963 travelogue captures the vanishing rhythms of traditional craftsmanship in Isfahan, Iran

Iran 1963 Reel 6 of 25 · 18:03 · Video: Penn Museum · Watch at the source

In short: In April 1963, engineer Watson Kintner documented the daily life of Isfahan, Iran. His footage reveals a world of manual labor, from blacksmiths straightening nails on stone anvils to enamel workers stenciling intricate designs. These silent, unedited reels offer a rare, intimate window into mid-century artisanal practices and urban architecture.

Watson Kintner, a chemical engineer at the Radio Corporation of America and a pioneer in vacuum tube standardization, spent 36 years traveling to over 30 countries. Beginning in 1933, he captured his journeys on film. The Iran collection, consisting of 25 reels, provides a detailed ethnographic record of the country as it appeared in 1963, focusing on both monumental architecture and the humble tools of daily survival.

Reel 6, filmed in Isfahan between April 7 and 8, 1963, serves as a microcosm of this broader project. Kintner’s camera lingers on the bazaar, where the sounds of hammering metal once defined the atmosphere. He documents specific, manual techniques: a blacksmith using a stone anvil to straighten bent nails, and an enamel worker meticulously outlining designs on a dish. Other scenes capture the structural ingenuity of the city, including a high-domed building with an opening at the top and the delicate process of using bitumen to secure a tray during metalwork.

Beyond the workshops, the footage records the intersection of geography and human activity. Kintner captures donkeys transporting water, the porch and pillars of the Chehel Setoun palace, and the striking sight of a shaking minaret. These reels do more than preserve a specific time; they highlight the persistence of traditional methods—like the use of a bow lathe—in an era of rapid global change. By documenting these scenes, Kintner created a vital archive of a material culture that was already beginning to shift, providing modern viewers with a tangible connection to the labor and landscapes of 1960s Iran.

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