From the Archives 36 — November 2018

By Sebastián Encina, Collections Manager

The primary purpose of the Kelsey Museum archives is to document the activities of the Museum and capture history that will inform future research. Scholars visit the Kelsey archives to find information relating to excavations. When they want to know, for example, the measurements of the walls at Karanis, or the findspot for that certain vase from Seleucia, or when the excavation team was at Lahoun, they will peruse the records in the archives. Kelsey staff often use the archives to learn how older exhibitions were mounted, how certain artifacts were displayed, or what font was used in an exhibition 30 years ago. This history proves invaluable to the work that takes place at the Kelsey every day.

One of the pleasures of working in archives is finding information that was captured as a memento, but not meant to further research. These are snapshots of life — lectures and parties, events where people came together to socialize. These images will not likely be featured in any publication, nor will researchers from across the world ask to see them. But they remain an interesting view of a time long past, where friends we know, or knew, can be seen in another era.

For this month’s “From the Archives,” we present some random photographs found years ago in the archives. They were never included in our archival photographs database, so identification proved problematic. However, they were seen as being too valuable to the Kelsey’s history to just set aside and forget. Former Kelsey Museum director John G. Pedley (director from 1973 to 1986) sat down recently with the Registry to help identify the people and events in the photos. As a result, we were able to put faces to names, and keep the memories of these people alive. These photographs have now been accessioned into the archives database, and when people come to the Kelsey to do research, these images will be available to them.

 

photo of people in museum gallery.
Left to right: Donald White, Dick Edwards (in background), unidentified man, and Ann and Ted Buttrey. KAP00044.
photo of two men talking in a museum gallery.
Donald White (center right) chatting with an unidentified man in the exhibition gallery. KAP00054.
photo of man at podium in front of seated audience.
Donald White at the podium. Seated, left to right: Clark Hopkins, unidentified woman, Ginnie Moss. KAP00033.
man in suit handles a slide projector while seated audience members look on.
Donald White helping with the projector during a presentation. Ted Buttrey seated at right. KAP00039.
people mingling at an event.
Left to right: Clark Hopkins, Donald White, Ann Buttrey, Ted Buttrey, and James Mason at James Mason’s retirement party. KAP00097.
people mingling at an event.
Standing at right: Clark Hopkins and Donald White at James Mason’s retirement party. KAP00123.
photo of three people talking.
Foreground, left to right: James Mason, Donald White, and Ann Buttrey at James Mason’s retirement party. KAP00135.
four men in suits laughing.
Left to right: John Pedley, Phil (?) Zumetta, unidentified man, and Donald White chatting and laughing. KAP00138.

With Professor Pedley’s assistance, we now know what events are captured in these photos, and and who attended them. We see here many Kelsey stalwarts such as John Pedley, James Mason, and Ted Buttrey attending lectures and receptions, and — in several photos — the retirement party for James Mason, who was responsible for building many of the Kelsey exhibition cases in years past. But one figure, Donald White, appears in all the images, and he is the catalyst for showing these photographs at this time. On November 21, Professor White passed due to injuries sustained in a car accident. He was 83. From 1963 to 1973, White taught at the University of Michigan. He then left to embark on a 30-year career as professor of classical archaeology at the University of Pennsylvania and curator of the Mediterranean section at the Penn Museum. While at Michigan, and continuing at UPenn, White was involved with the excavations at the Libyan sites of Apollonia (1965–1967) and Cyrene (1969, 1971, 1973–1981). More can be learned about these excavations in the Kelsey Museum publication In the Field (Talalay and Alcock, 2006).

It is a sad moment when a friend of the Museum passes. However, we are better off for having had Professor White spend time at the Kelsey. He will be missed, but his work carries on. And these photographs interspersed within our archives will ensure that we at the Kelsey will continue remember him.

 

From the Archives 35 — October 2018

By Sebastián Encina, Collections Manager

Every year at this time, children and adults start dressing up as goblins and ghouls and monsters of all kinds, scaring their neighbors and friends, and decorating their homes with skulls and witches and other Halloween trends. There is a focus on the deathly, the afterlife, the things that go bump in the dark. We look to be frightened, calling upon the wicked and evil to come give us a spark.

This is not a new phenomenon. A fascination with death has a very long history. Communication and connection with the afterlife, with demons and spirits, has been known for thousands of years. Looking back at ancient civilizations such as the Egyptians, there was a great amount of focus on the afterlife, for example. And the famous Greek and Roman stories are littered with cathartic moments of visiting the afterlife.

Even in the United States, death has been a popular topic since the arrival of the Europeans to the New World. Tombstones from the New England area show iconography that appears frightening to the modern viewer. Over time, skull and crossbones on tombstones changed to cherubim, appearing more welcoming and less scary.

For this month’s “From the Archives,” we present some rather macabre photographs. Again, we see people flirting with the dead, this time literally. Here we see several familiar names, though perhaps not as familiar faces, posing for the camera. We see Easton Kelsey, son of Francis Kelsey, posing with a skull. We see Leslie Askren, daughter of Dr. David Askren, a colleague of Kelsey’s who was a great resource and ally while working in Egypt. Finally, we see Mr. Brunton posing in a mummy case. Mr. Brunton is Guy Brunton, student of William Flinders Petrie, colleague of Joseph Starkey (the original dig director of Karanis), and archaeologist from the British School of Archaeology in Egypt. Mr. Brunton worked at Lahun, Egypt, and it appears some of the Michigan crew had a chance to visit for at least this one day, 26 February 1920 (the Karanis excavations did not commence until 1924).

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Easton Kelsey (left) and Leslie Askren (right) posing with skulls at Abu Gurab, near Lahun, Egypt, 26 February 1920. KK052 and KK053.
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Mr. Brunton in a mummy case at Abu Gurab, Egypt, 26 February 1920. KK057.

Though a fascination with the dead may still be ongoing, there are a number of differences between people working at excavations in the 1920s and our current excavators working in the field today. Though the skulls seen here may be unnamed people, they are still people. We cannot judge the people of the 1920s using today’s standards, but we can make a concerted effort to pay better respect to the people we encounter during excavations. Nameless to us, but these people had names, had families. It is on us to pay them proper respect, not to treat them as props for a photo op.

People will continue to be fascinated with death and the dead. Skulls and mummies will be party decorations for years to come. This interest is not new, but is something we share with many generations that have come before us. And likely something we will continue to share for a long time.

pile of skulls in barren landscape
Skulls and other bones from the mastaba at Abu Gurab, Egypt. KK051.

 

From the Archives 34 — September 2018

By Sebastián Encina, Collections Manager

Every summer, members of the Kelsey Museum community travel to Italy to participate in a number of projects. Many excavate at the site of Gabii (one of three sites currently featured in the exhibition Urban Biographies). Some work for the American Academy in Rome. A few work at Sant’Omobono. Some students do all of these things, all while doing their own research.

For many students, their first time visiting Rome must include some of the highlights, including seeing the Coliseum. This structure has been a destination for tourists and scholars for a long time — long before tourism was big business. Back in the 1800s, traveling was expensive and tedious and took a long time. There were no planes, so getting to Europe from the United States required a long voyage by ship. In addition, not many people had the funds to engage in long-distance travel. For these reasons, tourism did not happen on the scale it does today.

For this month’s “From the Archives,” we present a photograph showing the Coliseum as it looked back in 1885. Images such as this one were taken by professional photographers who would package several photographs together and sell them to schools or scholars or churches. They’d come in series, such as “View of Rome” and “View of the Holy Land/Palestine” and “Views of Greece.” People bought these photographic souvenirs in order to show their students, congregation members, and friends back home what Europe looked like.

Sepia image of the interior of the Coliseum, Rome.
1885 photograph of the Coliseum in Rome, labeled with the caption “ROMA – Interno dell’Anfiteatro Flavio o Colosseo.” KM 1961.7.1071.

However, the image of the Coliseum depicted on the obverse (front) is not the focus for this month’s post. Instead, we flip the image over to discover the following:

Cursive handwriting on yellowed paper.
Kelsey’s handwritten notes on the back of the Coliseum photo.

 

R10.                                                            3928

Colosseum, interior view, 1885.

On the difference between Roman and English ruins, see Hawthorne ‘French and Italian Notebooks,’ small ed. (Boston) pp. 54–55.

On the Colisseum:

Gibbon, ‘History of Rome,’ last chapter
Madame de Staël, ‘Corinne,’ book iv, chap. 4.
Byron, ‘Manfred,’ first part of last scene.
     ”     , ‘Childe Harold’s Pilgrimages,’ stanzas 128–145.
Bowden, ‘Percy Bysshe Shelley,’ vol ii, pp. 245, 246.
Hawthorne, ‘Marble Faun,’ chap. 17
Dickens, ‘Pictures from Italy,’ Peterson’s (Philadelphia) edition, p. 430.
Hare, ‘Walks in Rome,’ vol. 1.
Gregorovius, ‘Geschichte der Stadt Rom.’
Dyer, ‘The City Rome.’
Parker, ‘Archaeology of Rome – The Flavian Ampitheater.’

F.W. Kelsey

Here we have a handwritten note from Francis W. Kelsey himself, namesake of the Kelsey Museum. Not only is Kelsey sharing his comments and thoughts about this image and the Coliseum itself, but he is also giving us vital information. To people who work in archives, learning a particular person’s handwriting is a big key in deciphering other archival materials. Here, we see and can now learn to recognize Kelsey’s penmanship (though it does change as Kelsey ages). Now whenever we find unattributed notes in the archives, we can compare them to this signed note. If they match, we can safely say it is Kelsey’s note we found. And from that, we can start piecing together dates, context, and perhaps even the people being discussed.

Kelsey likely did not think of this as he made this annotation on the back of this photograph. To him, this was just a good location to make a note that would be useful to others. His concern was more for the scholarly aspect of the note rather than the archival one.

Archivists are routinely making discoveries when working in the archives, and they get to know the people captured in those archives. From their notes, we know what kind of workers they were, where they vacationed, about their relationships with family and colleagues, and their general thoughts about the world. Deciphering someone’s handwriting is a big tool for us, as it helps us piece together the archives and, often, people’s lives. We learn so much more about them from the tiny little memories they left than they ever could have imagined.

From the Archives 33 — August 2018

By Sebastián Encina, Collections Manager

At the end of August and beginning of September, the annual migration of students, both new and returning, comes back to Ann Arbor. Roads will soon be closed off and traffic patterns thrown asunder. That one way to work we are all used to will longer be an option. Parents helping their children move into their dorms park wherever they can, often causing nightmares for the regular denizens of Ann Arbor.

Soon, those students will start venturing out on their own, making friends and filling the cafés and restaurants we locals have grown accustomed to having all to ourselves. They will form groups of friends through their residences, their departments, their activities, and their classes. They will spend much time together, forming bonds and taking a lot of group photos.

For this month’s “From the Archives,” we present a mystery. Just like in 2018, U-M students have been gathering together since the university was founded, in 1817. With the advent of photography in the mid-19th century, they could document themselves.

Often in archives work, while working on one project, other, seemingly unrelated, materials pop up. Many times, these are “orphans,” left behind by someone who had knowledge about them, but who has since left the institution. While organizing the Kelsey archives, these three photographs were found. Sadly, they are accompanied by no documentation, no explanation.

2018-08-29_Archives-03-web2018-08-29_Archives-02-web

2018-08-29_Archives-01-web
Group photographs of young men assembled, perhaps at the U-M campus.

These photographs are presented as a mystery, but also as a call for help. If any of our readers recognize the people captured here, or the locations, or date, or even if this is from the University of Michigan at all, we can begin piecing together this puzzle.

Astute readers will notice one clue that may assist. In the lower right corner of the first photograph is the signature “Randall and Pack.” Some research into this reveals that Randall and Pack was a photo studio active in Ann Arbor between 1908 and 1917.* That gives us a time frame for at least one of the photographs. However, all other details remain obscure.

2018-08-29_Archives-04-web
A close-up view of the Randall and Pack signature, alongside an advertisement in the 1917 U-M yearbook, the Michiganensian, p. xxxix.

The archives present an opportunity to save history, to save the names and faces of people who have passed through these walls. Unfortunately, this is not always easy, and we rely on our community for assistance. These students may have a Kelsey connection, but without details we may never know. And with this loss, these photographs become an oddity in the archives, rather than a memory.

* * * * *

 * Directory of Early Michigan Photographers, by David V. Tinder (Ann Arbor: William L. Clements Library, University of Michigan, 2013; online edition), s.v. “Randall, Herbert”; see also “Pack, Ambrose Clarkson.”

 

From the Archives 32 — July 2018

By Sebastián Encina, Collections Manager

It’s July, a time when the country gathers together to celebrate the independence of the United States. The days leading up to and following the 4th of July are filled with patriotic images. These include the flag, depictions of Uncle Sam, fireworks, and, of course, the eagle. A long-standing symbol of America, the eagle has been used in a number of depictions over the years. We see it on coins, on stamps, on posters, in toys, in movies, even at the grocery store and at restaurants. It is a proud symbol, one that carries much weight and meaning.

The eagle as a symbol of power has a long tradition in other cultures, one that goes back thousands of years. It is often depicted as the bird of Zeus, the king of gods in ancient Greek culture, where we see it in a variety of forms, including textiles and figurines. The Romans carried it forward with their depictions of Jupiter. The power of Jupiter equaled the power of Rome, and where the Romans traveled so did eagle imagery. It appeared on coins, figurines, military paraphernalia, and sculptures.

For this month’s “From the Archives,” we present a few images of eagle sculptures found by the University of Michigan’s 1924 expedition to Antioch of Pisidia, in modern-day central west Turkey. 

double-eagle-web
Relief carvings from the frieze of the city gate of Pisidian Antioch, showing a double-eagle shield and swords. Kelsey Museum Archives KR013.03, KR068.01, and KR110.06.

These carved relief blocks are from the frieze of a monumental arch located at the entrance of the city. It was built by the people of Antioch and dedicated to the emperor Hadrian and his wife Sabina in commemoration of Hadrian’s tour through Asia Minor in AD 129. The arch would have presented a monumental welcome to the emperor as he entered the city.

Established as a Roman colony under Augustus in 25 BC, Pisidian Antioch was the oldest and most strategically important of the Roman colonies in Pisidia, but by the Hadrianic period it was only one among many prosperous cities in Asia Minor. Civic competition among cities within Roman provinces was fierce; a visit by the emperor was a prestigious event that could raise a city’s stature in relation to its neighbors and within the imperial administration.

The form and decorative program of the Arch of Hadrian and Sabina contains numerous references to another monumental structure in Antioch, the Arch of Augustus, erected in 2 BC during a period of intense imperial investment in the city. “Creating a new version of the [Arch of Augustus] at the very entrance to the city and dedicating it to Hadrian would announce the city’s dedication to the emperor” (Ossi 2011, 101).

So as we celebrate this 4th of July, we can remember how, nearly two thousand years ago, the people of Antioch, a mixture of Phrygians, Greeks, and Romans, employed the eagle — the very symbol of America’s hard-won independence from British rule — to strengthen their ties to the imperial power of Rome. 

******

For more about the archaeological expedition to Pisidian Antioch, the viewer is invited to visit Building a New Rome: The Imperial Colony of Pisidian Antioch. In this online version of the special exhibition, held at the Kelsey Museum in 2006, curator Elaine Gazda and her team make use of archival materials to present Antioch in new and refreshing ways. The exhibition catalog of the same title is available for purchase.

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Ossi, Adrian J. 2011. “The Arch of Hadrian and Sabina at Pisidian Antioch: Imperial Associations, Ritual Connections, and Civic Euergetism,” in Elaine K. Gazda and Diana Y. Ng, eds., Building a New Rome: The Imperial Colony of Pisidian Antioch (25 BC–AD 700), pp. 85–108. Kelsey Museum Publications 5. Ann Arbor: The Kelsey Museum of Archaeology.

From the Archives 31 — June 2018

by Sebastián Encina, Collections Manager

In June we celebrate Father’s Day, a day to honor all fathers. It is often a day for picnics and barbecues and gifts and bad ties.

Though we often speak of Kelsey Museum namesake Francis W. Kelsey in terms of his professional career — scholar, professor of Latin and supporter of archaeology, music aficionado, international traveler, politically connected and a major influence on campus — he was also a doting father. Letters in the archives of the Bentley Historical Library show that he often wrote to his children while overseas, encouraging them in their studies and hobbies. These letters back and forth speak of a loving relationship between Kelsey and his children. He often wrote to them in Latin, referring to himself as Pater.

KM_Kelsey-kids-web
Francis Kelsey’s children: Ruth, Charlotte, and Easton.

Of Kelsey’s three children, we know the least about his eldest, Ruth (born 1894). She does not make much of an appearance in the Kelsey Museum archives, though she does factor in the archives at the Bentley Library.

Charlotte, born in 1897, may be a bit more familiar to those who have followed this blog. It is Charlotte who starred in the Michigan Classical Club’s 1917 production of Euripides’ Iphigenia in Tauris while a student at U-M. Photographer George Swain captured her performance in a series of glass slides — some that he hand-colored (see “From the Archives” for October 2015).

Kelsey’s youngest, Easton (born 1904), has a major presence in the Kelsey Museum archives. He often accompanied his father on trips abroad and there are a good number of photographs of him while traveling. Easton was a photographer in his own right and a collection of his photographs is catalogued in the Kelsey archives (identified with the designation “KK”).

For this month’s “From the Archives,” in honor of Father’s Day, we present Francis W. Kelsey in a new light, not as a scholar and founder of a museum, but as a loving father to three wonderful children.

* * * * *

To see additional photos and to read more about the Kelsey family, visit the “Family Man” portion of the online exhibition A Man of Many Parts: The Life and Legacy of Francis Willey Kelsey.

From the Archives 30 — May 2018

By SEBASTIÁN ENCINA, Collections Manager

Spring has finally arrived in Ann Arbor, and with it our heavy parkas and snow boots have at last been stored away, not to be thought of for many months. Instead, we bring out the t-shirts and shorts and we venture outside to enjoy the sun and cool breeze.

During this time, we look to spend more time in nature, observing that which was covered in snow for so long. George Swain, back when he worked for the University, would do this as well. Of course, he would go outside with his camera, capturing whatever scenes he could.

For this month’s “From the Archives,” we present two Swain images saved in the Kelsey archives. Though the great majority of our archival photographic collections are of excavations overseas, we do find the occasional non-archaeology image as well. The two images highlighted this month depict a squirrel caught climbing up a tree and an owl peering down on Swain, perhaps posing for the photograph.

These two photographs are glass slides. These were often used in lanterns for teaching purposes. Swain spent a great deal of time after the excavations in the 1920s reproducing images for U-M faculty and staff to use in their classrooms. One means of this, prior to digitization and PowerPoint, was to replicate images on glass so that they could be projected on the wall using a lantern slide projector (sometimes known as a magic lantern).

Why he chose an owl and a squirrel is unknown. No caption accompanies these two. However, they seem to be posing for the camera, so what is a photographer supposed to do? We are unsure if these hail from Ann Arbor, but we think the squirrel would appreciate the attention and extra food squirrels receive on campus these days.

As you wander outside, be sure to appreciate the animals that are enjoying the same sunshine you are. Listen to the wisdom of the owl as it stares down at you, trying to pass along a message. She may have some sage words for you, such as “Enjoy Spring!”