In addition, Sevruguin's portfolio frequently featured portraits of royalty, nobility, and cultural figures, highlighting the intricate costumes and detailed architectural elements of the time.

His ability to seamlessly blend artistic expression with ethnographic documentation rendered his work a valuable historical chronicle and a tribute to the opulent cultural legacy of Iran.

Because Antoin Sevruguin traveled extensively around Qajar Iran, his photographs provide a vital visual record of the country as it existed in his time.

His journeys allowed him to capture a wide array of images that document the diverse landscapes, architecture, and daily life of pre-modernized Tehran and beyond.

Some of Sevruguin's portraitures fed preexisting stereotypes of Easterners but had commercial value, and today, they are proven to be historical records of regional dress.

Museums collected pictures of merchants in the bazaar, members of a Zurkhana (a wrestling arena), dervishes, gatherings of crowds to see the Ta'zieh (Iranian dramatic presentation depicting the Passion of Shite Imams), people engaged in Shiite rituals, and more.

Many Westerners who lived in Iran and travelers who visited the country brought back photographs from Antoin Sevruguin, often mentioning him in their travelogues of the time.

In 1908 the world was denied the rich collection of Sevruguin's images when Cossacks of Mohammad Ali Shah Qajar (reigned from 1907–1909) inadvertently bombed his store in suppression of Zahiru’d-Dawla, the constitutionalist Governor of Rasht.

As the photographs depicted numerous figures associated with the former Qajar regime and showed "conditions far removed from his own notions of a modern westernized nation", Reza Shah Pahlavi (reigned from 1925–1941) confiscated the remaining images.

[4] The small exhibit curated by Massumeh Farhad, "Antoin Sevruguin and the Persian Image" (2001) was held at the Sackler Museum of Harvard University.