From the Archives

From the Archives #58

By Sebastián Encina, Collections Manager

The August 2020 “From the Archives” blog entry recounted the final days of Francis W. Kelsey and team’s year-long trip as they traversed Europe, southwest Asia, and northern Africa. One hundred years ago, in August of 1920, Kelsey, his wife Mary, their son Easton, the photographer George Swain, and several others were in England, France, Belgium, and Germany before they departed on their return voyage to the US. Through George Swain’s eyes (and cameras), we saw what Europe looked like only a century ago. We saw a Europe still recovering from a devastating war, returning to their new normal. And much of the world was also recovering from the pandemic of 1918. 

On this year-long adventure, Kelsey and his team saw many countries, documented numerous sites, connected with friends and colleagues, and started making plans to initiate archaeological excavations. The voyage home must have been a relief for the team, after spending so long on the road. They saw much, but such a trip can be exhausting. And a century later, it is interesting for us to see their trip and the fruits of their labors. They had no idea how the next decade or so would turn out, but we see the seeds being planted during this venture. Though some of the groundwork for those excavations were laid prior to the 1919/1920 trip, it was around this time that Kelsey founded the Institute of Archaeological Research (IAR) for the purpose of running archaeological excavations. In 1924, they returned to commence archaeological work at Carthage, Antioch, and Karanis.

For this month’s “From the Archives,” we look back 101 years and share where it all began. In September 1919, Francis Kelsey and his team boarded a train in Detroit that was bound for New York City. In New York, they boarded the Columbia, a steamer that would sail across the Atlantic to England (seeing Ireland and Scotland along the way). From there, they would begin their journey across Europe. 

Swain seems to have always had his camera at the ready. He captured views of the train station in Detroit, the docks in New York City, life aboard the Columbia, and nine days later, Ireland and Scotland. While on the isle of Britain, the team visited Glasgow, Edinburgh, Berwick, York, and London. We see some of the usual stops along the way, including the river Thames, the Tower of London, the British Museum, Parliament, Westminster Abbey. We also see the people along the street: a fruit vendor, a newspaper boy, a man wearing a sandwich board advertising a play, and an artist on his knees creating art. We see the cars, buses, and attire that were in style at the time. Kelsey and Swain posing before the sites, calling out tourists but acting the tourists themselves.

As noted, this trip afforded the team the opportunity to see so much, take stock of the situation, and plot future work. The photos shared this month show the beginning of the trip; last month we saw its conclusion. In between the two points in time, Kelsey added many miles to his personal odometer, and Swain’s work resulted in a large portion of the Kelsey Museum’s current archives. These are a great resource for scholarly endeavors, but also for the curious who are interested in life one hundred years ago. Thus far, we have presented only a portion of what they saw. In the coming months, we may see a bit more. For this month, we revel in the onset of the journey, wishing the team a healthy trip, already knowing well how successful it will be.

September 4: Detroit train station

“Electric locomotive in the Michigan Central yards, Detroit, by the station.” 4 September 1919. KS001.01.

September 5–15: New York, embarkation and voyage

“Approach to the Cunard docks, New York, from the street.” 5 September 1919. KS001.02.
“Atlantic liners. Columbia, looking toward the bow as she lay at the dock in New York.” 6 September 1919. KS001.05.
“Charlotte Kelsey and others on the dock, taken from the deck of the Columbia.” 6 September 1919. KS002.01.
“Hoboken, seen from the steamer Columbia.” 6 September 1919.
“Statue of Liberty, from the steamer.” 6 September 1919. KS002.05.
“Atlantic liners. Columbia. A pleasant day on deck. Everybody happy.” 8 September 1919. KS003.04.
“Atlantic liners. Columbia. Looking toward the bow.” 8 September 1919. KS002.12.
“Atlantic liners. Columbia. Looking from the stern toward the superstructure.” 8 September 1919. KS003.05.
“Atlantic liners. Columbia. A sunset at sea.” 12 September 1919. KS004.05.
“Atlantic liners. Columbia. Capt. Blaikie at the bridge.” 15 September 1919. KS004.09.
“A bit of the Irish coast near Moville.” 15 September 1919. KS006.06.

September 16: Glasgow, Scotland

“Another view of the University.” 16 September 1919. KS007.04.
“A look up the tower of the University.” 16 September 1919. KS007.08.
“A bit of the University cloisters.” 16 September 1919. KS007.06.
“Looking out in front of the Museum.” 16 September 1919. KS007.03.

September 17: Edinburgh, Scotland

“The approach to the Castle.” 17 September 1919. KS007.10.
“A group of tourists in the Castle. Professor (Francis W.) Kelsey near the center.” 17 September 1919. KS008.02.
“Cemetery for soldiers’ dogs, at the Castle.” 17 September 1919. KS008.06.
“On the street, omnibus run by gas from a balloon-tank on top.” 17 September 1919. KS008.07.
“A double-deck electric tram.” 17 September 1919. KS008.08.
“View of river and bridge from the train.” 17 September 1919. KS008.11.

September 18: York, England

“The cathedral towers. Hazy.” 18 September 1919. KS009.04.
“Part of the ruins of the abbey.” 18 September 1919. KS009.10.
“Latin inscription on a roman sarcophagus in the museum. Very plain.” 18 September 1919. KS009.08.
“G.R. Swain on top the city wall.” 18 September 1919. KS010.03.
“A bit of the old city wall, cathedral towers in the distance. Professor (Francis W.) and Mrs. Kelsey on the wall, but not very clear.” 18 September 1919. KS010.02.

September 20–28: London, England

“The main entrance gates to the British Museum, facade in the background.” 20 September 1919. KS010.06.
“Just a street view, vista.” 20 September 1919. KS010.07.
“The Monument-single column.” 20 September 1919. KS010.07.
“Looking along the Thames from London bridge to the Tower bridge.” 20 September 1919. KS010.09.
“The approach to the Tower bridge.” 20 September 1919. KS010.10.
“Up the Thames from the base of the Tower bridge.” 20 September 1919. KS010.11.
“Rear of Westminster Abbey.” 24 September 1919. KS011.02.
“The Houses of Parliament, not from the river.” 24 September 1919. KS011.03.
“Houses of Parliament, river side.” 24 September 1919. KS011.04.
“A fruit vendor’s cart — apples and bananas. Street view.” 24 September 1919. KS011.06.
“A London ‘news boy’ with his bulletin board. What the test vote was about not known. League of Nations?” 24 September 1919. KS011.07.
“A London ‘sandwich’ man with a theatre advertisement.” 24 September 1919. KS011.08.
“In front of a book stall. Little out of focus.” 24 September 1919. KS011.09.
“A sidewalk artist at work.” 24 September 1919. KS011.11.
“Westminster Bridge, St. Stephen’s Clock Tower and part of the Houses of Parliament.” 28 September 1919. KS011.12.
“Government buildings near Westminster.” 28 September 1919. KS012.01.
“One of the Horse guards at Whitehall.” 28 September 1919. KS012.02.
“Milk cabs (‘churns’ they called them) stacked in Hyde Park, time of the railway strike.” 28 September 1919. KS012.07.

From the Archives #57

By Sebastián Encina, Collections Manager

In 1919 and 1920, just after the end of the Great War, Francis Kelsey took a long journey, from England to continental Europe, to Turkey and Syria, through to Egypt. He brought with him a group of people to assist in these travels, including photographer George R. Swain and his own son, Easton Kelsey. This was their first opportunity in a long time to visit this side of the world. They had quite a lot of work to accomplish on this trip, for its purpose was twofold. They were there on humanitarian grounds, visiting Red Cross refugee camps in Turkey and Syria following the Armenian genocide. They were also there to visit colleagues, collections, and historical and archaeological sites. In Egypt, they began planning future archaeological expeditions.

For this month’s “From the Archives,” we present a selection of twenty-five photographs showcasing the group’s travels exactly 100 years ago. In August of 1920, they found themselves in England, France, Belgium, and Germany. The photographs from this leg of the trip, taken by George Swain and Easton Kelsey, show the range of their adventures and activities. We see Windsor Castle in England, with tourists milling about outside. The team connects with Herr and Frau Reindjes and her sister, as they rent a car in Germany. We also see them dealing with their vehicles, extracting them from ditches and changing their tires.

We also get a chance to see post-war life in the respective countries. A man with plow and oxen in Tongeren, Belgium. Another man in Koblenz, Germany, with his dog-pulled cart. An amorous couple (“Local color,” according to the photo label), also in Koblenz, Germany. In Dijon, France, we see a view of one of the castles of the Dukes of Burgundy, and in Paris, we get a glimpse of the Place de l’Opera. Swain and Kelsey provide us with views of other structures, both natural and human-made. In some captions, they include the words “Good,” or “Excellent,” attesting to the quality of the photograph.

Along with these images of resilience, we find ourselves looking at the devastation brought about by the Great War. In La Fere, France, we see “piles of war wreckage” where buildings, including homes, once stood. In Alsace, we see barbed wire entanglements scattered through a field and a shell-hole with wrecked woods in the background. Throughout the war, Kelsey was in frequent communication with his friends and colleagues in Europe and Southwest Asia. The plight of people and areas affected by the war was on his mind, as it was for many Americans.

By the end of August 1920, Swain’s and Kelsey’s photographic documentation of this trip seems to have come to an end. Thanks to their work, we get to see how Europe was one hundred years ago. People were getting back to their lives after years of war, trying to find their new normal. After almost an entire year traveling through Europe, Southwest Asia, and Egypt, it was time for these Americans to return to their normal as well.

 

black and white photo of Windsor Castle
August 1, 1920, London, England. “Windsor. Approach to the castle, and castle. Tourists.” Easton T. Kelsey, photo KK322.

August 1, 1920, London, England. “Windsor. Tower on the site of one built by William the Conqueror.” Easton Kelsey, photo KK323.

black and white photo of a man and dog on bridge
August 9, 1920, Koblenz, Germany. “Four-wheeled cart drawn by a big dog, on the pontoon bridge.” George R. Swain, photo KS225.10.

black and white photo of a stone bridge
August 9, 1920, Koblenz, Germany. “Stone bridge across the Moselle, at Cobler looking up stream; raft of logs in the foreground.” Easton T. Kelsey, photo KK324.

black and white photo of a river
August 9, 1920, Koblenz, Germany. “Confluence of the Rhine and Moselle, looking up the Moselle. Shows considerable of the country.” Easton T. Kelsey, photo KK327.

black and white photo of crowded bridge
August 9, 1920, Koblenz, Germany. “Throng of traffic on the pontoon bridge.” Easton T. Kelsey, photo KK341..

black and white photo of a man and woman embracing
August 11, 1920, Koblenz, Germany. “Local color at the Kranenberg, above Andernach.” Easton T. Kelsey, photo KK339.

black and white photo of a 1920s car
August 15, 1920, Koblenz, Germany. “Our army Cadillac has to change tires.” Easton T. Kelsey, photo KK369.

black and white photo of army troops in formation.
August 16, 1920, Koblenz, Germany. “U.S. soldiers marching along the street. Good.” Easton T. Kelsey, photo KK355.

black and white photo of a 1920s car with passengers
August 17, 1920, Koblenz, Germany. “The German car we rented at the gas station at Coblenz. In front, Frau Reindjes and her sister; on the back seat, GR Swain and Professor (Francis W.) Kelsey; Herr Reindjes standing by car.” Easton T. Kelsey, photo KK365.

black and white photo of 1920s car and passengers
August 20, 1920, near Tongeren, Belgium. “Views. A stop to fix a blow-out on a tire, near Tongres. Shows Professor (Francis W.) Kelsey, Capt. Minuth and Frau Reindjes.” George R. Swain, photo KS227.05.

black and white photo of a statue
August 20, 1920, Tongeren, Belgium. “Statue of Ambiorix.” Easton T. Kelsey, photo KK359.

black and white photo of a man with oxen
August 20, 1920, Tongeren, Belgium. “Man with oxen and plow, road beyond.” Easton T. Kelsey, photo KK361.

black and white photo of man and woman on a bench
August 21, 1920, Spa, Belgium. “Herr and Frau Reindjes on the grounds at Spa. Little out of focus.” George R. Swain, photo KS227.11.

black and white photo of a river
August 22, 1920, Namur, Belgium. “Looking down the Meuse from the top of the Citadel.” Easton T. Kelsey, photo KK377.

black and white photo of a woman seated on stone steps
August 22, 1920, Belgium. “Picture of Frau Reindjes, somewhere in Belgium.” Easton T. Kelsey, photo KK378.

photo of a ruined house
August 23, 1920, La Fere, France. “War-wrecked house.” Easton T. Kelsey, photo KK379.

black and white photo of ruins in French village after WWI
August 23, 1920, La Fere, France. “Another pile of war wreckage.” Easton T. Kelsey, photo KK380.

black and white photo of people in front of bombed buildings
August 23, 1920, La Fere, France. “Jumble of war wreckage — once houses.” Easton T. Kelsey, photo KK381.

August 26, 1920, Alesia, France. “The car in the ditch, coming down the hill. Professor (Francis W.) Kelsey at the right.” George R. Swain, photo KS229.07.

black and white photo of a triumphal arch
August 27, 1920, Dijon, France. “Small triumphal arch at Dijon near the hotel.” George R. Swain, photo KS229.10.

black and white photo of a building
August 27, 1920, Dijon, France. “More detailed view of one end of the castle of the Dukes of Burgundy.” George R. Swain, photo KS230.02.

black and white photo of a field with barbed wire
August 28, 1920, near Colmar, France. “Near Colmar. Barbed wire entanglements scattered through a field.” Easton T. Kelsey, photo KK394.

black and white photo of a parched field
August 28, 1920, near Colmar, France. “Near Colmar. A shell hole in the foreground with water, wrecked woods beyond.” Easton T. Kelsey, photo KK395.

black and white photo of a building in Paris
August 30, 1920, Paris, France. “Place de l’Opera looking toward the Opera house. Excellent.” George R. Swain, photo KS230.12.

From the Archives #56 — July 2020

By Sebastián Encina, Collections Manager

This year has proven to be a difficult one for many people. COVID-19 has affected the health of a great number of people throughout the world. Through it all, the people at the frontline have proven how essential they have been and still are. Nurses and doctors have been stretched thin, and we thank them for their dedication.

Acknowledging the work of health professionals is not limited only to emergencies and times of crisis. Hospital workers face dire situations day after day. And still, they show up to help people.

For this month’s “From the Archives,” we present this picture taken 100 years ago by George Swain. In 1919 and 1920, Swain and Francis Kelsey traveled through Turkey and Syria. They had several goals during this trip, including some archaeological ones. In addition to this work, Kelsey was intent on visiting humanitarian efforts in Turkey and Syria, including orphanages and hospitals, and the refugees who were there.

In June 1920, Swain snapped a photo of nurses and staff in front of a hospital in Istanbul (Swain refers to it as Stamboul, as it was still Constantinople at the time). The nurses worked at the Canadian Hospital for Tubercular Children. On the reverse side of the photo, someone wrote the following:

The personnel of the Canadian Hosp for Tubercular Children Yédi Koulé consists of

A Greek cook and housemaid, husband and wife
A Greek guard and pantry maid, husband and wife
Two Turkish chauffeurs
Two Armenian orderlies
One Armenian kitchen boy
One Armenian gardener
One Armenian Housekeeper
Five Armenian nurses
Three Russian nurses

All natives seen in the photo are Armenians, others not being on the place the day the photo was taken. The Hospital’s (formal opening) will take place on Canada’s Dominion Day July 1st.

Tubercular children to be admitted June 21st.

 

group shot of people sitting on steps
Group of nine nurses and staff members on the steps of the Canadian Hospital for Tubercular Children in Istanbul, June 1920. Photo by George Swain. Kelsey Archives 7.0583.

handwritten note on back of photo
Handwritten note on the back of photo 7.0583.

A mix of people of different origins and nationalities came together in order to help children. Kelsey was invested in these efforts and worked with the Red Cross to help provide resources to those in need in the region.

It is evident that nurses and doctors have consistently been doing what they can for the sick. And have been for a long time. The events of 2020 are just another example of this effort. We are grateful to the people putting themselves in positions to help us when we need them most.

From the Archives #55

By Sebastián Encina, Collections Manager

This May, longtime Kelsey curator and former director Elaine Gazda retired from the University of Michigan. Since her arrival in Ann Arbor in 1974, Elaine has had an incredible impact on the Kelsey Museum. She has not only contributed her scholarship to the field and collections, but her leadership has set the foundation for so much of what makes the Kelsey what it is today.

group photo
Kelsey staff photo from 1975, shortly after Elaine Gazda’s arrival in Ann Arbor. Back row, left to right: David Slee, John G. Pedley, Elaine K. Gazda. Middle row: Ann Pileai, Sharon C. Herbert, Pat Berry, Louise Shier, John Humphrey. Front: Amy Rosenberg. Photo taken on the steps of the Kelsey Museum.

The archives are rife with Elaine’s presence. The exhibition files alone show her reach, as we find countless exhibitions she has curated, co-curated, and assisted with. The design and planning of the Upjohn Exhibition Wing, completed in 2009, were a result of her hard work. Elaine has numerous exhibition catalogues and publications under her name.

Over the years, Elaine has worked closely with a wide range of artifacts, both in her personal research and through the classes she has taught. She often used artifacts in the classroom, allowing her students to hold and examine up close the sculptures, wall paintings, and other materials in the Kelsey’s collections.

For this month’s “From the Archives,” we highlight Elaine’s relationship with her students, but in a slightly different manner. In 2004, Elaine took several of her IPCAA students — Lydia Herring, Matthew Harrington, Hima Mallampati, Diana Ng, Adrian Ossi, and Ben Rubin — on a trip to Turkey to learn about the sites, the architecture, and the art found there. The photographs from this trip, taken by Elaine and the students, were turned over to the Kelsey Museum. In these, we see visits to museums, the architecture of Aphrodisias and Ephesus, and their visit to Antioch. However, we are presenting the team itself, and honoring Elaine and how her students saw her. Sprinkled throughout we also see Elaine’s family, who accompanied her on this trip.

This is not goodbye to Elaine, as she will continue working with the Kelsey on numerous projects. But we do appreciate all her work and the years she has given to the museum. Her impact will be felt for a very long time. Thank you, Elaine, for all you have done, not only for the Kelsey, but for each person who has come into contact with you. You have had a profound impact on many careers. Best of luck to you.

From the Archives #54 — May 2020

By Sebastián Encina

Each year around May, people in and around Ann Arbor start heading to Nichols Arboretum to see the blooming flowers and trees, the signs of spring returning to our area. This year, Nichols will not be planting their regular peony gardens, but people will still be making their way to the arboretum to see what other colorful flowers are growing. 

And as the weather continues getting warmer, more people will venture out to their gardens and start planting their own flowers and plants. Soon our neighborhoods will be full of brilliant, beautiful colors and amazing smells. (Sorry, allergy sufferers!)

Flowers and natural beauty have been a source of joy and happiness for thousands of years. The natural world decorated the walls, pottery, and other items of the ancient world. Stroll through the galleries of the Kelsey Museum and you will see many examples of nature-inspired motifs on a wide range of objects.

So, too, did our predecessors at the University of Michigan appreciate the beauty of flowers. For this month’s “From the Archives,” we bring their flowers to you. Though not as brilliant and vibrant as the flowers you can see and smell in the gardens of Matthaei and Nichols, they evoke the beauty that people share no matter where they are. George R. Swain captured the beauty of flowers in England, France, Greece, Egypt, Belgium, Palestine, and Turkey, in gardens, placed near monuments, growing in the wild, and for sale. In his photographs presented here, we see a funeral procession, a decorated cenotaph, flower vendors in Brussels, someone’s private home garden. Swain was sure to point his camera everywhere while traveling with the U-M teams.

Soon, Ann Arbor will be full of flowers and beauty. We will wander the parks and gardens appreciating what we see, often stopping to snap our own photos to share. We are continuing a practice so many people have enjoyed for so long.

 

From the Archives #53 — April 2020

By Sebastián Encina, Collections Manager

Just over one hundred years ago, in April of 1918, Francis W. Kelsey reached out to colleagues across the Atlantic. Over the years, Kelsey corresponded with a number of people in Europe, particularly Italy. He wrote many letters to advance his own research on the Roman world, and did so also on behalf of his colleagues. The archives at the Bentley Historical Library and the Kelsey Museum showcase this abundantly, and John Pedley’s 2011 book, The Life and Work of Francis Willey Kelsey: Archaeology, Antiquity, and the Arts, provides great context for this aspect of Kelsey’s life and career.

The archives — this collection of letters, journals, photographs, and receipts — paints a picture of a man who traveled often, was constantly working, and had a wide range of interests. A single day’s journal entry gives us a glimpse of his busy schedule, with various appointments, lunch and tea meetings, travel, and time at the end of the day to write letters to his family and other contacts. 

For this month’s “From the Archives,” we present a letter written by Kelsey asking for 2,000 color reproductions of a mosaic of Virgil from Hadrumetum. We also have the reply from Italy, in both English and Italian, along with the actual image of the mosaic. In his letter, Kelsey expresses regret for not being able to travel overseas to procure the image himself. He had plans to return after his last visit in 1915, but circumstances outside his control prevent him from doing so. 

typed

ArchivesScan003-web

typed letter
Correspondence between Francis W. Kelsey and Italian representatives regarding the release of the color reproduction of the Hadrumetum mosaic, “Virgilio Meditante L’Eneide” in 1918.

ArchivesScan001-web
Color reproduction of the Hadrumetum mosaic, “Virgilio Meditante L’Eneide.”

One hundred years ago, Kelsey found himself in a situation where he couldn’t travel as he had hoped. He used the tools available to him to proceed with his work. This is a simple request, just under strenuous circumstances. He would get his chance to return to Europe the following year, in 1919. When he did, he and his team made the most of their trip, traveling about the Mediterranean, to North Africa, Turkey, as well as Europe. And now, our archives are filled with the amazing photographs from this expedition.

mudbrick house with flags

From the Archives #52 — March 2020

By Sebastián Encina, Collections Manager

We are living in interesting times. COVID-19 has changed our daily routines and lifestyles. We are no longer socializing as we normally do. Museums, galleries, and businesses remain closed in order to stymie the spread of the coronavirus. Instead, we work from home as we can, making adjustments to the database, writing policies, connecting with colleagues. We try to carry on as normal — as normal as we can make it.

For Kelsey Museum staff, working from home is difficult, as so much of what we do revolves around art and artifacts. We cannot bring these objects home with us. During this time, our kitchen tables become our offices, our couches our desks. Meetings become virtual, and colleagues get to show off their homes and their pets to their coworkers.

The Kelsey archives also represent the sense of home. For this month’s “From the Archives,” we present several photographs of the Karanis dig house, which was constructed specifically for the staff who worked at the site in the 1920s and 1930s. Viewing these photos gives us a chance to view both the living and working spaces for the likes of E. E. Peterson, Harold Falconer, Frederick Joslin, Joy Fletcher-Allen, George Swain, and so many more. While they were in Egypt, life centered around this house. Work happened here. Laundry happened here. Cooking happened here. Pets lived here. And the residents of the house documented their surroundings and home life.

In these pictures, we see just that. We see the house as it stood in the 1920s and early 1930s (much has changed since its original construction), the staff helping with laundry, with cooking, Mrs. Joy Fletcher-Allen serving as hostess. Less than 100 years ago, the Karanis staff was operating in ways similar to our current experience, albeit under very different circumstances. Eventually, the Karanis staff returned to their normal routines, and in time, so will we.

house in the desert from a distance
The house as it appeared in the summer of 1932. KM photograph 0465.

mudbrick house with flags

Camp house at Kom Aushim (Karanis), with flags flying in honor of H. E. Ismail Sidy Pasha’s visit to the Fayum.

woman seated on wall.
Our hostess, Mrs. Edgar Fletcher-Allen, with our cook Ahmad Muhammed in the background. KM photograph 5.2172.

two young girls standing near a wall
Kamls Siddiq and Saiya Abd el Mula, laundry girls. KM photograph 5.2458.

Statue of Cupid.

From the Archives #51 — February 2020

By Sebastián Encina, Collections Manager

Go to the store during the month of February and you are likely to run across several aisles worth of Valentine’s Day gift ideas. Of course, there are chocolates and candies, stuffed bears and other critters, and countless other possibilities to give to a loved one, a child, whomever you wish. February 14th and the days leading up to it are flooded with hearts and Cupids and other symbols of love. It is rather difficult to avoid it all.

For this month’s “From the Archives,” we present our own Cupids in the collections. Though the Kelsey Museum has quite a number of Eros/Cupid artifacts (figurines, sculptures, even coins), this month we choose to share the photographic art held at the Museum, photographs taken primarily in the second half of the 19th century. Though exact dates are not associated with the individual photographs, we know many of them were created in the 1860s and later. Some of the images are attributed to Michele Mang, an Italian photographer who was active in the 1860s, 1870s, and 1880s. We also hold photographs from John Henry Parker, who collected or commissioned photographs of Italy (read more about Parker in Passionate Curiosities: Tales of Collectors & Collections from the Kelsey Museum, by Lauren E. Talalay and Margaret Cool Root). 

In general, the photographic collection at the Kelsey shows art and architecture found across Europe and Near East. The photos here focus on representations of Cupid, primarily in Italy. Some are of sculptures, others of frescos, and one a mosaic. They show Cupid in a number of forms and at a range of ages. We see the baby-like Cupid in KM 2000.1.3210, where he sits at the feet of Apollo, and in KM 2000.1.1696, where several representations hover around Hercules. In several depictions — KM 2000.1.2884, 1961.8.70, 2000.1.2782, and 2000.1.1879 — Cupid is a young boy, no longer a baby. A slightly older Cupid is depicted in images such as KM 1961.8.950, 1961.8.958, and 2000.1.2435, among others. Cupid as a young man is seen in KM 1961.8.633, 1961.8.634, 1961.8.635, and 2000.1.2518. 

Baby Cupid:

Toddler:

Older Boy:

Young Man:

The Kelsey has several depictions of the same work of art, or similar works of art, perhaps taken by different photographers at different times. We attribute some works to certain photographers, but the rest are unattributed.

Cupid/Eros was and still is a popular subject in both ancient and modern art. Though modern popular culture often shows Cupid as a pudgy baby with wings and the famous bow and arrow, he did not always take this form. The collections at the Kelsey Museum demonstrate some of the variations of Cupid that exist. Next time you are at the store purchasing Valentine’s Day gifts, remember that those gifts could include a very different depiction of the famous God of Love.

Photo of Acropolis at Athens

From the Archives #50 — January 2020

By Sebastián Encina, Collections Manager

Thanks to the efforts of Dr. Cathy Person, along with the work of conservators Suzanne Davis and Caroline Roberts and registrar Michelle Fontenot, the Kelsey Museum has kept rather busy over the last few years with class visits to the Museum. Every semester, hundreds of students come through to view our displays, speak with the staff, and learn about museum work. On top of that, the Kelsey Museum provides an added benefit to students: the opportunity to handle ancient artifacts associated with their classes. Students and instructors from Classics, History of Art, Middle East Studies, English, History, German, and a slew of other departments are routinely visiting and getting to work with our collections. This likely would have made Francis Kelsey happy, as he began collecting in order to give students the opportunity to see firsthand the items that they were reading about in their books.

The students who get to work with artifacts have the distinct pleasure of handling some rare artifacts, and some very old ones as well. The Kelsey brings out ceramics such as ancient Greek and Roman amphorae, fish plates, and kylikes, textiles, mold-made figurines and lamps, papyri, cartonnage mummy masks, stelae, Latin inscriptions, glass vessels, amulets, and many coins, among many other types of artifacts. The items are chosen for specific classes, so students can better grasp the lessons being taught.

More and more, the Kelsey is also making its archives available for these classes as well. For this month’s “From the Archives,” we present a selection of archival photographs that were used for instruction during the past year. In this group, we see photographs from Egypt, Italy, and Greece. Created by three photographers — George R. Swain, Easton T. Kelsey, and an unidentified photographer — the images show various aspects of archaeology: artifact remains, architecture, landscape, as well as the human toll of disaster. 

Photos 5.1790 and 5.3342, both taken by Swain, give the viewer a glimpse of finds from Karanis, Egypt. These are often used to demonstrate how people in Karanis, as elsewhere in the world and through time, would hoard and hide their belongings. 5.1790 shows letters written on papyri hidden underneath a threshold. Image 5.3342 shows a pot that contained a hoard of coins. Perhaps the person who hid it intended to return and collect the coins for later use. 

ancient threshold
5.1790: “Rolls of papyrus as found in a hollow threshold of a door between rooms D and E of house 5026,” Karanis. Photo by George R. Swain.

pot being excavated from dirt
5.3342: Coin Hoard 12 from Karanis. Pot (29-F28H-a), inside which were coins (29-F28H-Ax50), as found. Photo by George R. Swain.

Photograph 2003.05.0014 was taken by a professional photographer, probably as part of a series that could be sold as a souvenir. These photo collections (Views of Italy, Views of Egypt, etc.) were common in the 1800s, when traveling was not as easy as it is today. This particular photograph demonstrates the destruction and devastation wrought by Mt. Vesuvius when it erupted in 79 AD and covered various cities in towns in southern Italy, including Pompeii, where this photograph was created.

Plaster cast of victim of Vesuvius.
2003.05.0014: Pompeii, “Cadavere di donna.” Unknown photographer.

KK267 and KS209.02 are views of Athens and the Acropolis. They were taken by Easton Kelsey, son of Francis Kelsey, and George Swain, respectively, in the 1920s.

Photo of Acropolis at Athens
KK267: “Acropolis. East end of the Parthenon.” Photo by Easton T. Kelsey, ca. 1920s.

photograph of Athens with Mount Lycabettus in distance
KS209.02: “Acropolis. Modern Athens and Lycabettus from the Acropolis.” Photo by George R. Swain, ca. 1920s.

 

The Kelsey Museum provides opportunities for students and other visitors to see not only artifacts, but also the papers, maps, and photographs we also care for. These materials are here for study, as research is not artifact-based only. We have hosted a number of classes that have looked at non-artifact collections, and we expect more to come in the future. Those students will have a deeper experience as a result.

Black and white photo of an Istanbul market, 1919

From the Archives #49 — December 2019

By Sebastián Encina, Collections Manager

In December, many of us spend a lot of time at local stores perusing goods that we think would make great gifts for our loved ones. We spend hours trying to find the perfect gift, the item that shows how we think about those we care about, whether they are close to us or far away.

For this month’s “From the Archives,” we go one hundred years back in time, to December 1919, to find a University of Michigan staff member far from home but doing the same thing — going to shops and markets, perhaps to find souvenirs to send back home to Michigan. In 1919 and 1920, U-M photographer George R. Swain accompanied Francis Kelsey on an expedition through Europe and the Mediterranean region. Their goal was to document classical sites as well as to identify sites that might have potential for future excavations.

Here we present seven images taken by Swain in Istanbul — or Constantinople, as it was referred to then (some photo captions refer to the area of “Stamboul”). While traveling, Swain photographed not only archaeological artifacts, sites, and structures, nor did he focus solely on collections at other museums. Almost everywhere he went, Swain turned the camera around to his surroundings, to the people in the area, offering us a glimpse into life in those countries at that time.

The photos shown here cover a time period of 20 days, from 5 December to 24 December 1919. Swain captures life at several shops and businesses in Istanbul. We see a person fixing umbrellas. A cobbler’s shop. A busy corner at the bazaar. Bread and fruit for sale. All the shopping Swain chose to capture.

These photographs allow us to see what the city was like one hundred years ago. People who visit Istanbul now will notice many similarities, but also many differences. The bazaar, though altered, remains. Maybe some of those same shops are still there! And the sentiment is the same. People going about doing their shopping, purchasing items they need, or gifts for friends and family. Now in 2019, we continue doing the same.

Black and white photo of an Istanbul market, 1919
“The umbrella mender sitting on the sidewalk on a typical street.” 5 December 1919. KS043.4.

Black and white photo of an Istanbul market, 1919
“Shop where they pressed the Turkish tabbooses or fezes.” 9 December 1919. (With the passing of the fez, this was a vanished industry by 1927.) KS046.10.

Black and white photo of an Istanbul market, 1919
“A tiny cobbler’s shop by the street in Stamboul.” 9 December 1919. KS046.11.

Black and white photo of an Istanbul market, 1919
“A busy corner near the Egyptian bazaar.” 9 December 1919. KS047.9.

Black and white photo of an Istanbul market, 1919
“Crowd of people by the booths of the Egyptian bazaar.” 9 December 1919. KS047.11.

Black and white photo of an Istanbul market, 1919
“Bread for sale.” 24 December 1919. KS052.7.

Black and white photo of an Istanbul market, 1919
“Scene in a fruit market.” 24 December 1919. KS052.11.