Over the past few months, we have been recounting Francis Kelsey’s, George Swain’s, and the rest of the team’s year-long trip to Europe, Southwest Asia, and North Africa. Back in September of 1919, the team made their way from Ann Arbor to Detroit and then to New York City in order to cross the Atlantic so they could visit those areas affected by the Great War (World War I). The trip lasted through August 1920, when they returned to Michigan.
At the onset of the trip, the team landed in the United Kingdom and made their way south, visiting several towns and taking stock of the land which had been ravaged by war for years. They also were able to connect with colleagues and friends. Over the course of months, they made their way across Europe, heading toward Greece, Turkey, and Egypt.
For this month’s “From the Archives,” we present the continuation of this trip. In November 1919, the team found themselves primarily in Romania (“Roumania”), Bulgaria, and Serbia (“Servia”). They began the month in Paris (KS023.02, mandatory Eiffel Tower view), then made their way east through Switzerland and arrived in Serbia. In Serbia, we mostly see the surrounding landscapes, the train station, and some soldiers. We also catch a glimpse of Easton Kelsey, Francis Kelsey’s son. It was not just the University of Michigan faculty and staff on this trip, but some family members as well.
The team continued their voyage to Romania, staying in Bucharest. Swain captures life there, from the view from their hotel room to the procession of the royal carriage. We also see children (bootblacks) waiting for work, various buildings they came across, the market and all its wares for sale (soap, sausages, rugs, books, etc.), and an interesting ad for Ford automobiles. Outside of Bucharest, in Adam Klissi (modern Adamclisi), we see a selection of photos for the Tropaeum Traiani, which was originally constructed in 109 CE.
Swain and the rest visit other regions of Romania, where they see the effects of the war, before they arrive in Bulgaria. Once in Sofia, they visit the museum, observe the locals, and admire the buildings. And here is where they ended in late November 1919. Though already in Europe for three months, their journey is still just beginning. Kelsey and crew will soon arrive in Turkey, where they will ring in 1920. Be sure to return next month to see the amazing views they will treat us to.
November 9, 1919: Paris, France
“The Eiffel tower at sunset.” KS023.02.
November 15: Brigue, Switzerland
“Ascending the valley toward Brigue; shows head of train as well as view.” KS023.04.“Parts of two cars of the Simplon-Orient Express. Station, Brigue.” KS023.06.“Looking ahead toward the mountains, from the station at Brigue.” KS023.07.
November 16: Train ride heading east, with stops at Zagreb (“Agram”) and Timisoara (“Temesvan”)
“At Steinbach, looking ahead. Simplon-Orient Express.” KS023.10.“At Steinbach, looking back.” KS023.09.“Train and station at Agram.” KS024.03.“Part of train and Easton Kelsey at Agram.” KS024.01.“Nearer view of Easton Kelsey and the side of the sleeping car, at Agram.” KS024.02.“The engine that pulled the train. Taken at Agram.” KS024.05.“Soldiers put off the train beyond Agram — tried to ride on sleeping car in corridor.” KS024.07.“Train in station somewhere east of Agram.” KS024.08.“The station at Temesvan.” KS024.09.“A few French soldiers at … station.” KS024.11.
November 18–25: Bucharest, Romania
“From the window of the Hotel Bristol toward the Carpati restaurant.” November 18. KS024.12.“A row of bootblacks — enough mud to give many a job.” November 18. KS025.02.“Mounted guards waiting for the royal carriage — opening of parliament.” November 20. KS025.03.“Soldiers waiting for the royal carriage.” November 20. KS025.04.“Royal carriage — king and queen going to open Parliament.” November 20. KS025.06.“Street view in the better part of Bucharest.” November 20. KS025.08.“Statuary group at head of street out beyond the Hotel Bristol.” November 20. KS025.11.“A street view and some boot blacks.” November 20. KS026.01.“Ponies with driver and a cartload of brush.” November 20. KS026.02.“Part of a squad of cavalry.” November 20. KS026.08.“Nearer view of the breech of the big Skoda gun out by the Exposition grounds.” November 20. KS026.11.“Adam Klissi reliefs. General view showing arrangement of slabs on the terrace by the Archaeological Museum.” November 21. 7.0059.“Adam Klissi reliefs. General view of about eight slabs of relief.” November 21. KS027.06.“Adam Klissi reliefs. Two slabs, one of soldiers with banners.” November 21. KS027.04.“Cart, driver and one ox, detail of the yoke used.” November 21. KS027.10.“Woman trying to sweep up mud — one of the ‘White Wings’ force.” November 21. KS028.11.“Cart with body woven like a basket.” November 23. KS029.04.“Street vendors by the market.” November 23. KS029.09.“By the market, selling things from small tables.” November 23. KS030.07.“Pork on the hoof — drove of hogs passing along the street.” November 23. KS030.10.“Church with three cupolas on Gravitei St.” November 23. KS031.08.“The ‘Carol I Foundation’ used as a library.” November 23. KS031.01.“Street view with Ford auto ad.– man spitting out Fords.” November 23. KS031.04.“Donkey and cart by the old market.” November 23. KS029.01.“Book stalls along by the river — a la Paris.” November 23. KS029.03.“Front of a Greek shop near the market — Panels between windows painted to show costumes apparently — possibly national.” November 24. KS032.12.“Women waiting, or resting, by the street, seated.” November 24. KS032.02.“A corner of the cloth market — fabrics mostly in the web.” November 24. KS032.03.“The earthen jug and jar section of the market.” November 24. KS032.04.“Slabs of soap corded up, for sale at the market.” November 24. KS032.05.“Sausages for sale.” November 24. KS032.11.“Row of book stalls along by the river — better view than the other of the same thing.” November 25. KS034.11.“Rugs for sale — hung along by the sidewalk.” November 25. KS033.07.“Oxen and cart with huge cask, down by the market.” November 25. KS035.01.“Just some onions for sale — at the market of course.” November 25. KS035.06.“The patient donkey and his cart, with some of the market beyond.” November 25. KS035.08.“A group at the entrance to the market.” November 25. KS035.10.“A close up view of a stall where earthen jugs, jars and pots are sold.” November 25. KS035.11.
November 26: Giurgiu, Romania
“The clock tower on a frosty morning.” KS036.06.“Looking down the street of shops. One sign with Trajan represented.” KS036.02.“General view on a street in the wrecked quarter.” 7.0089.“There we stayed, the Hotel Vlasca, the only hotel left standing in Giurgiu.” KS036.07.“A shop and the Cafe Verdun, where we listened to some folk songs.” KS036.09.“All that was left of what was a good hotel.” 7.0093.“Typical ruins after a Bulgarian bombardment.” KS036.04.
November 27–28: Bulgaria: Ruse (“Roustchouk”) and train trip to Sofia
“The engine and part of the train at Roustchouk.” November 27. KS037.02.“Our sleeper in the station at Roustchouk.” November 27. KS037.03.“A look ahead up the valley.” Ruse to Sofia, November 28. KS038.04.“Typical view where a side stream comes down. Several houses in sight.” Ruse to Sofia, November 28. KS038.05.“View back down the canyon. Good.” Ruse to Sofia, November 28. KS038.09.“Rock slides from the side walls of the canyon.” Ruse to Sofia, November 28. KS038.07.“Part of a station in the deep part of the canyon.” Ruse to Sofia, November 28. KS038.12.“Train in the station at Svogue.” Ruse to Sofiia, November 28. KS039.03.
November 29–30: Sofia, Bulgaria
“An inscription (Latin) in the yard of the Museum.” November 29. KS039.04.“Union Palace Hotel.” November 30. KS039.09.“Mosque near the Municipal Baths.” November 30. KS039.11.“One of the lions at the head of the Lion Bridge. Peddler’s cart below.” November 30. KS039.12.“A priest at the entrance to the old sanctuary, now below the street level.” November 30. KS039.05.“Buffalo oxen, cart with load of wood.” November 30. KS040.02.“Group of women in national costume. Little out of focus.” November 30. KS040.01.
1919–1920 proved an adventurous year for Francis Kelsey and his team, and we have been sharing those adventures over the past few months through this blog. Last month, we saw how the adventure began, with a train ride from Detroit to New York City, followed by a sea voyage to England. For the month of September, the team stayed in those locations, wandering from Edinburgh to London.
For this month’s “From the Archives,” we continue this journey. In early October 1919, the team was still in England, finishing up some travels there. On October 10, they are in London, and they move south to Folkestone, near Dover. From there, Kelsey, Swain, and others board ships to cross the Channel. They arrive in Boulogne, France, and quickly make their way to Paris. While in Paris, we get glimpses of the Eiffel Tower, Montmartre, the Arc de Triomphe, and of life on the streets. Swain captured a garbage wagon, a woman sweeping, a fish stand on the street, and a flower pushcart. Daily life as it happened in Paris 1919. And time for sightseeing.
After a few days in Paris, they move on to Meaux, Chateau-Thierry, Rheims. They see through cathedrals, bridges, and various structures along the way. And they get reminders of the recent past. Ruined houses and debris. Homes “pitted with bullets.” Wrecked towns, wrecked factories, a wrecked armored car, wrecked forests and trees. Swain sees French soldiers, German prisoners eating soup and clearing rubbish, a war cemetery, a German prisoner’s camp, a shell dump, German headquarters.
From Rheims (or Reims), they move to Berry-au-Bac and onto Soissons. In Berry-au-Bac, Swain captures Kelsey and a French officer standing by a German trench. The photo appears odd, as Swain accidentally double-exposed the frame. We see trees superimposed on the photo, and Kelsey’s face is distorted. The hat, the build, and the beard are definitely Kelsey, even without being able to see the face.
Once they have seen the vicinity, the team returns to Paris, where they visit the Louvre and see other monuments throughout the city. While outside Paris, Swain used the Cirkut camera to capture Berry-au-Bac. The Cirkut camera was designed to use special film, and had a spring mechanism that would render panoramic photographs. An earlier “From the Archives” blog entry highlighted a number of these panoramics, as it was used throughout North Africa, Turkey, and Europe.
Throughout it all, Swain took notes on his photographs so he could remember and document them later. He was using several cameras: the Cirkut, a handheld Kodak camera, and a view camera. He had to keep track of all these images somehow. And it is those notes that led to our archival photographs database.
It must have been shocking to see the remains of war and the destruction from the Great War. Due to the ongoing conflict, it was difficult for Americans to visit Europe. And when they did, they found a very different Europe from what they remembered. As noted numerous times in previous blog entries, Swain captured life returning to a new normal. People in the streets making a living. Clearing up the debris. Getting on to new business.
From France, the team would carry on to other parts of Europe. The last entry for October is the 20th, so our next photos will be from November 1919. Those will be presented next month, so be sure to return to see where our adventurers rode off to next!
October 10: London and passage to France via the English Channel
“National Gallery and St. Martin’s, London.” KS013.01.“How autos are carried on the channel steamers.” KS013.07.“Bow of steamer and head of pier.” KS013.05.“Chalk cliffs near the harbor, from the steamer.” KS013.04.“Another view of the chalk cliffs near Folkestone.” KS013.08.“Cloud and sunlight effect, from the steamer.” KS013.09.“Fishing boat and tug. French coast line in the distance.” KS013.11.“A little of the city seen from the steamer.” KS014.01.
October 11–14: Paris, France
“Statue of the city of Strassburg, Place de la Concorde.” KS014.03.“Eiffel Tower at sunset, from the Seine.” KS014.04.“Push cart peddlers in the Rue St. Honoré (not there in 1925).” KS014.06.“A nearer view of the old women with the push carts, Rue St. Honoré.” KS014.07.“Part of the Tuileries Garden and the Arc du Carousel.” KS014.08.“A news stand, kept by a woman.” KS014.09.“A Paris garbage wagon.” KS014.10.“Old woman sweeping by garbage wagon. Shutter too slow.” KS014.11.“A flower push cart. Poor.” KS014.12.“A street fish stand. Little out of focus.” KS015.01.“Narrow uphill street leading toward a Montmartre.” KS015.02.“A bit of the Monmartre cemetery, showing the density of population.” KS015.03.“Just a bit of the narrow part of the Rue de Rivoli.” KS015.04.“General view of the Place de la Concorde, traffic in foreground.” KS015_06.“One of the masculine public conveniences of Paris — typical of Western Europe!” KS015.07.“Temporary victory monument, by the Avenue Champs Elysées. Figure is the Victory of Samothrace.” KS015.08.“Another rather more distance view of the temporary victory monument; it is also from a different point of view.” KS015.11.“Part of the facade of the Grand Palais, where the auto show was held.” KS015.12.“Part of the Paris Auto Show, Grand Palais.” KS015.09.“A bridge over the Seine and the Eiffel Tower.” KS016.02.“On top the Arc du Triomphe.” KS016.03.“One wedge of buildings as seen from the top of the Arc du Triomphe. Hazy in distance.” KS016.04.“Mr. Flack on top the Arc du Triomphe.” KS016.05.“Toward the Eiffel Tower from the top of the Arc du Triomphe.” KS016.06.
October 15: Meaux, Chateau Thierry, and Reims, France
“Facade of the cathedral.” KS016.07.“The Sossuet Memorial, in the cathedral of Meaux.” KS016.08.“Nave of the cathedral toward the apse.” KS016.09.“One of the aisles of the cathedral.” KS016.10.“Street view at Meaux.” KS016.11.“Bridge over the Marne at Trilport.” KS017.01.“Ruined houses and street choked up with debris.” KS017.02.“Just a street corner in the town.” KS017.04.“Bridge held by the Americans, view from the end by the Germans. Temporary bridge in position in the view.” KS017.06.“Another bridge from the same end. See KS017.06.” KS017.07.“Just a street view. House roofs knocked to pieces.” KS017.08.“Same bridge from the American end. See KS017.08 and KS017.07.” KS017.09.“Another view from the same end showing houses on other side riddled with American fire. A metal plate has been set in the bridge approach on this side reading, ‘On this site will be erected a monument commemorating the services of the 3rd Division, U.S.A., 1918.'” KS017.10.“More ruined houses.” KS017.11.“Wreckage of an ammunition train blown up by mines.” KS018.03.“War cemetery. White crosses French; black, German. On the French crosses, name and “Mort Pour la France.” Reims. KS018.05.
October 16–17: Reims
“Toward Rheims from road running northeast from town. Wire entanglements on right and left. Trees more than half destroyed by gun fire. German front lines ran through hollow at foot of hill. Rheims cathedral dimly seen in the distance. Weather cloudy and hazy at time of exposure. Shows how Germans could observe effect of every shell fired at the cathedral.” 7.0001.“Toward Rheims from more nearly north than the preceding. Shows same road at left. Wire entanglements in immediate foreground. Shows cathedral and some of the town. Countryside waste of weeds, trenches and wire entanglements. Taken under adverse weather conditions.” Text attached to photo: “Reims and its cathedral as seen through a curtain of rain from the second line German trenches, October 16, 1919. Wrecked barbed wire entanglement in the foreground. Photo by George Swain, University of Michigan collection.” 7.0002.“Facade of Rheims cathedral, taken with 12-inch lens. From the square directly in front. On right and left, rubbish of wrecked buildings cleared from the street. Note holes knocked in towers.” Text attached to photo: “Shell of Reims Cathedral. The interior was gutted by fire. Part of the vaulted ceiling and roof fell in. Much of the ceiling still left over the nave is cracked and threatens to fall, so that visitors are not allowed to pass under it. Photo by George R. Swain, October 16, 1919, through a thin curtain of rain. University of Michigan collection.” 7.0007.“Long-focus view of part of one side of cathedral to show damage by fire and bombardment.” 7.0011.“Interior of cathedral looking from the rear toward the apse. Visitors allowed only inside the door for fear roof might fall. Note hole in back end of roof. Also two smaller holes at right overhead. Stained glass shattered to tiny bits. Note big unexploded shell in forground. Custodian asserted not one shell exploded inside the building.” 7.0012.“Hotel Lafayette, our army Cadillac in front.” KS018.08.“Square out in front of the cathedral, not looking toward the cathedral.” KS018.09.“A glimpse from the roof of the Hotel Lafayette.” KS018.12.“Across the street from a window on the second floor of the hotel.” KS019.01.“From the roof of the Hotel Lafayette, to the left.” KS019.02.“Some of the ruins out in front of the cathedral.” KS019.03.“The towers of the Rheims cathedral –camera pointed up purposely.” KS019.04.“Tiny corner tower on building near front of cathedral.” KS019.07.“Right hand side of the roof of the cathedral.” KS019.08.“German prisoners crossing in front of the cathedral.” KS019.09.“In the square in front of the cathedral. Mrs. Kelsey and Rediger, our chauffeur and the army Cadillac.” KS019.10.“German prisoners clearing away rubbish from the front of the cathedral.” KS019.11.“Serving German prisoners with soup for lunch, out in front of the cathedral.” KS019.12.
October 17–18: Berry-au-Bac and Soissons
“On the road from Rheims to Berry-au-Bac. Trees all wrecked. Ruins of town on the left as well.” KS020.01.“Wrecked town passed on the road. Nothing but a few walls.” KS020.02.“Old dugouts and trees wrecked by gun fire.” KS020.04.“Wrecked sugar factory at Berry-au-Bac.” KS020.08.“Our auto, the road and a sign “Achtung! Eisenbahn.” not far from the bridge at Berry-au-Bac. It was a little narrow gauge road, presumably for ammunition and supplies.” KS020.10.“Professor Kelsey and French officer standing by German trench of 1914 (probably a double, but possibly of use).” KS021.08.“Looking down the ridge between the Aisne and the Miette brook. The line of trees begining at the left and extending three quarters the way across the view, marks the course of the Aisne. The trees at the right mark the Miette brook. A German prisoners’ camp is near the right. This side of that, and crossing the Miette runs the road to Laon. The view is diversified with old trenches, shell holes and the remains of wire entanglemnts. A dug out in the foreground. The view does not extend far enough to the left to show Berry-au-Bac. Size, 9 1/2 x 30 in.” Cirkut001.“Looking down along the ridge between the Aisne and Miette, especially the side toward the Miette, marked by the trees. The road down the ridge and going to Laon shows in the center of the view. Old trenches and shell holes right and left. The Aisne is located by the trees in the distance at the extreme left of the picture. Size, 9 1/2 x 28 in.” Cirkut004.“Shell dump. Mostly 75’s by the road from Berry-au-Bac to Laon. Rediger standing at right.” KS021.01.“German prisoners’ camp and wire stockage, near the Miette brook, at the left of the road to Laon. This is near the slope where Caesar drew up his troops.” KS021.04.“Wrecked armored car, camouflaged, probably French, on the Miette side of the slope of the ridge. Easton Kelsey inside for scale.” KS021.05.“Remains of German camoflage by the road running down the ridge between the Aisne and the Miette.” KS021.09.“Canal boats by empty canal by Berry-au-Bac, seen from the crater, Hill 108.” KS021.10.“Wrecked forest on the road to Pontavert near Berry-au-Bac.” KS021.11.“Ruins of Pontavert.” KS021.12.“Headquarters of German commander, road from Pontavert to Soissons.” KS022.01.“Rediger replacing a tire on the Cadillac. Not far from Soissons.” KS022.02.“Pair of traction engines, one each side, pulling four-plow back and forth across the field. Near Soissons.” KS022.03.“Part of the wrecked facade of the Soissons cathedral.” KS022.04.“Showing how the backbone of the Soissons cathedral was broken. The structure was damaged beyond repair. A part seems to have been left as a monument. I saw it in 1925 and 1926.” KS022.05.
October 20: Paris
“Company of French soldiers resting by the Seine, Paris.” KS022.06.“Part of the facade of the Louvre.” KS022.08.“The Gambetta statue and its environment, Tuileries Gardens.” KS022.09.“The end of the Arc du Carousel toward the Seine.” KS022.10.“The Arc du Carousel in its environment, seen from the side toward the Place de la Concorde.” KS022.11.“One of the fountains of the Place de la Concorde.” KS022.12.“One of the monuments at the head of the bridge of Alexander III.” KS023.01.
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.
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.
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.
August 9, 1920, Koblenz, Germany. “Four-wheeled cart drawn by a big dog, on the pontoon bridge.” George R. Swain, photo KS225.10.
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.
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.
August 9, 1920, Koblenz, Germany. “Throng of traffic on the pontoon bridge.” Easton T. Kelsey, photo KK341..
August 11, 1920, Koblenz, Germany. “Local color at the Kranenberg, above Andernach.” Easton T. Kelsey, photo KK339.
August 15, 1920, Koblenz, Germany. “Our army Cadillac has to change tires.” Easton T. Kelsey, photo KK369.
August 16, 1920, Koblenz, Germany. “U.S. soldiers marching along the street. Good.” Easton T. Kelsey, photo KK355.
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.
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.
August 20, 1920, Tongeren, Belgium. “Statue of Ambiorix.” Easton T. Kelsey, photo KK359.
August 20, 1920, Tongeren, Belgium. “Man with oxen and plow, road beyond.” Easton T. Kelsey, photo KK361.
August 21, 1920, Spa, Belgium. “Herr and Frau Reindjes on the grounds at Spa. Little out of focus.” George R. Swain, photo KS227.11.
August 22, 1920, Namur, Belgium. “Looking down the Meuse from the top of the Citadel.” Easton T. Kelsey, photo KK377.
August 22, 1920, Belgium. “Picture of Frau Reindjes, somewhere in Belgium.” Easton T. Kelsey, photo KK378.
August 23, 1920, La Fere, France. “War-wrecked house.” Easton T. Kelsey, photo KK379.
August 23, 1920, La Fere, France. “Another pile of war wreckage.” Easton T. Kelsey, photo KK380.
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.
August 27, 1920, Dijon, France. “Small triumphal arch at Dijon near the hotel.” George R. Swain, photo KS229.10.
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.
August 28, 1920, near Colmar, France. “Near Colmar. Barbed wire entanglements scattered through a field.” Easton T. Kelsey, photo KK394.
August 28, 1920, near Colmar, France. “Near Colmar. A shell hole in the foreground with water, wrecked woods beyond.” Easton T. Kelsey, photo KK395.
August 30, 1920, Paris, France. “Place de l’Opera looking toward the Opera house. Excellent.” George R. Swain, photo KS230.12.
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 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 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.
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.
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.
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.
Jerusalem. Some of the formal flower beds in the garden of Gethsemane. KS129.02.
London, England. Peace centotaph, erected 1919. Many flowers at the base. KS011.01.
Brussels, Belgium. Flower vendors in the old Grand Place. KS236.03.
Athens, Greece. Palace Gardens. Flower beds, two palm trees, other trees and shrubbery beyond. KS210.04.
Cannes, France. Approach to a villa — palms and flower beds. KS245.02.
Antioch, Turkey. Aqueduct and its source. Rounded masses of pink flower, up in the hills near the stream. KS281.06.
London, England. Cookham and vicinity. Just a flower garden out in front of a house. KS222.10.
Cairo, Egypt. View in the park on Gezireh island. Flower beds in blossom at the left, trees (including palms) scattered about. Road down the center passing under bridge of palm logs. Expanse of lawn at the right, with shrubbery beyond. A lovely park. Size, 9 1/2 x 32 1/2 in. Cirkut027P01.
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.
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.
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.
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.
The house as it appeared in the summer of 1932. KM photograph 0465.
Camp house at Kom Aushim (Karanis), with flags flying in honor of H. E. Ismail Sidy Pasha’s visit to the Fayum.
Camp house and scenes at camp. KM photograph 0703.
Camp house and scenes at camp. KM photograph 0710.
Camp house and scenes at camp. KM photograph 0709.
Camp house and scenes at camp. KM photograph 0705.
Camp house and scenes at camp. KM photograph 0702.
Camp house and scenes at camp. KM photograph 0704.
Camp house and scenes at camp. KM photograph 0712.
Our hostess, Mrs. Edgar Fletcher-Allen, with our cook Ahmad Muhammed in the background. KM photograph 5.2172.
Kamls Siddiq and Saiya Abd el Mula, laundry girls. KM photograph 5.2458.
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:
KM 2000.1.3210. Sculpture – Villa Ludovisi (1) – The fine group of the sitting Mars, reposing with a Cupid at his feet. It was found in the precincts of the Portico of Octavia and restored by Bernini. It is supposed to have formed part of a group of Mars and Venus. Published by John Henry Parker.
KM 2000.1.1696. Curious mosaic found at Porto d’Anzio, now in the Capitoline Museum. The subject is Hercules, pining for love of Omphale, who is represented by a Cupid, while a lion is being tied up by other Cupids. This mosaic expresses the proverb, Omnia vincit amor, Love conquers all. Published by John Henry Parker.
Toddler:
KM 2000.1.2884. Lateran Museum – Sculpture – A pretty group of a cupid on a dolphin, very much restored. Published by John Henry Parker.
KM 1961.8.70. Two statues from Pompeii: Etruscan warrior and Cupid. Photographer: Anderson.
KM 2000.1.2782. Villa Albani (157) – Bas-relief representing the Cyclops Polyphemus seated, while a cupid at the back induces him to sing. Published by John Henry Parker.
KM 2000.1.1879. Fresco painting from the Thermae of Titus and Trajan, AD 75–100. A Cupid driving a white dove in a meadow. From a drawing engraved in a scarce book on these thermae by De Romanis.
Older Boy:
KM 1961.8.612. Cupid. Unknown photographer.
KM 1961.8.613. Cupid. Attributed to Michele Mang.
KM 1961.8.950. Cupid. Attributed to Michele Mang.
KM 1961.8.2364. Cupid of Praxiteles. Unknown photographer.
KM 1961.8.2373. Cupid. Unknown photographer.
KM 2000.1.1674. Sculpture – Statue of Cupid with his bow, in the middle of the Capitoline Museum. This was a celebrated figure of which many ancient repetitions are extant. The original is supposed to have been by Lysippus. Published by John Henry Parker.
KM 2000.1.2435. Vatican Museum (495) – Statue of Cupid in the act of drawing his bow. It was found, broken in several pieces, near the Lateran. Published by John Henry Parker.
KM 1961.8.958. Cupid and Psyche.
KM 1961.8.960. Cupid and Psyche. Attributed to Michele Mang.
KM 2000.1.2743. Capitoline Museum – Group of Cupid and Psyche. Published by John Henry Parker.
Young Man:
KM 1961.8.633. Head and torso of Cupid of Praxiteles? Unknown photographer.
KM 1961.8.634. Detail of Head of Cupid of Praxiteles? Unknown photographer.
KM 1961.8.635. Head and torso of Cupid of Praxiteles? Attributed to Michele Mang.
KM 2000.1.2518. Vatican Museum (250) – Half-figure of Cupid found at Centocelle, near the Via Labicana, and sold by the Scotch painter Gavin Hamilton to Pope Clement XIV. It is a very perfect figure and is supposed to be a copy of the celebrated Cupid of Praxiteles. Published by John Henry Parker.
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.
