From the Archives #46 — September 2019

By Sebastián Encina, Collections Manager

This September, researchers from the University of Lecce (Italy) working at the site of Dimé (Soknopaiou Nesos) in Egypt visited the Kelsey Museum. Professor Paola Davoli and team (Bruno Bazzani, Stefania Alfarano, Clementina Caputo) returned to work with the collections from Michigan’s excavations at Dimé in 1931. On this visit, the researchers spent two weeks measuring, drawing, photographing, and studying artifacts from the site. They looked at furniture, beads, sandals, lithics, sculpture, figurines, and a number of other artifact types.

This was the team’s second time in Ann Arbor to work with materials from Dimé. In 2017, Davoli and team visited the Kelsey to look through the archival materials from the excavation. This includes maps, drawings, photographs, and other files that help the current Dimé project better understand work undertaken at the site previously. At that time, Professor Arthur Verhoogt hired two Michigan undergraduates, Bianca Gallina and Josiah Olah, to digitize the Dimé archives to assist the Lecce team’s work. Bianca and Josiah helped the Kelsey organize, identify, catalog, and digitize a great number of items from the archives, which will prove to be beneficial for years to come.

For this month’s “From the Archives,” we present a taste of the work Bianca and Josiah accomplished. Like in Karanis, the Dimé excavation team took detailed notes of the architecture at the site, noting topographic measurements. While there were many drawings made, we present those of an oven found at the site, in house I 107. Ovens were not rare at the sites, but not every home had one. With these drawings, we learn the basic construction of a Roman-era Egyptian oven, its size, and potential uses. We also see the handiwork of the person who, in 1931, drew this for their own research and also for those who followed. 

Though Michigan’s excavation at Dimé occurred back in 1931, the work still has plenty to inform research today. The Dimé team from Lecce continues to mine the Kelsey archives for information, and plenty of other researchers will use this material for other projects. We don’t know yet what those requests will look like, so we do our best to protect this collection and make it accessible to all who want to use it.

Below: Drawings of features from House I 107 in Dimé (Soknapaiou Nesos), Egypt.

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From the Archives #44 — July 2019

By Sebastián Encina, Collections Manager

A very common occurrence in archives is coming across mysteries that have no answers. It is frustrating for those of us working with these materials to not have any idea what we have stumbled across. Or who these people are. Or what this photograph is depicting. More frustrating is knowing that for some of these matters, there will never be an answer.

Even with materials very familiar to us, such mysteries pop up. Though we have spent many years working with the maps, journals, and photographs from the Karanis excavations, there are still some items that leave us puzzled. One such example is a series of drawings of artifacts excavated at Karanis. The drawings are in color in order to capture the full nature of the artifacts, a necessity in the days before color photography.

The drawings themselves are not the mysteries. We know what artifacts are depicted; most are here at the Kelsey Museum. Instead, the mystery is who drew them. They are signed by “Joslin” and dated 1929, but no first name, no affiliation, no other identifying information is given. The 1929 Karanis excavation team included several architects and artists, but nothing else in our archives was associated with “Joslin.”

In 2015, the Kelsey Museum received an email from Nancy Joslin Kaleel saying her grandfather was an architecture student at U-M who went to Karanis with the U-M team in 1929. She and her son Calvin were visiting Ann Arbor and were interested in seeing anything relating to Joslin at the Kelsey Museum. We invited Nancy and Calvin to view these files and during their visit, Nancy revealed that Joslin was actually Frederick Burr Joslin, an architect who designed homes in Detroit. Mystery solved.

Nancy recently returned to the Kelsey, bringing more family members who were interested in seeing F. B. Joslin’s work and learning about the Kelsey and the excavations at Karanis. For this month’s “From the Archives,” we present a few of Joslin’s drawings and a photo of his family members each holding a drawing.

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Members of Frederick Burr Joslin’s family holding images he drew at Karanis. Left to right: Caroline Kaleel holding the toy horse, David Page holding the seated priest, Dr. Judith Joslin-Page holding the bronze cupid, Nancy Joslin Kaleel holding the censer, and Mosa Kaleel holding the wall painting.

It was an absolute pleasure hosting the family at the Kelsey Museum and spending an afternoon with them. They were a delight to have, and we learned so much more about Joslin than we previously knew. Nancy and Judith, who are sisters, say they have many of their grandfather’s belongings, so perhaps we will continue to learn about Joslin’s time at Karanis. What they find may wind up being a future “From the Archives” blog post.

From the Archives #43 — June 2019

By Sebastián Encina, Collections Manager

It is June, and many students at U-M have graduated, or have at least completed their courses for the academic year. Soon, local schools will be letting out as well, and thus will summer truly begin. For many, this is the time to find fun and entertaining things to do with friends and family. Festivals will pop up throughout the country, and county fairs will have rides available for children and adults alike.

This desire for fun is not limited to American students and families. People across time and throughout the world seek out such amusements. For this month’s “From the Archives,” we present an example of people creating their own entertainment.

In the mid-1920s, a team of University of Michigan archaeologists lived in Egypt as they undertook the excavation of the site of Karanis. The team’s photographer, George R. Swain, would often turn his camera on the locals to capture life in the Fayum region, where Karanis is situated. It is for this reason that candid photographs of animals, neighbors, and people playing and attending weddings dot the collection of photographs of the buildings and artifacts uncovered at the site. It is these photographs of daily life that add color to the Kelsey’s archival record of the Karanis excavations and gives us a glimpse into the lives of people in the Fayum region in the early 20th century.

Group of people around and on a homemade Ferris wheel.
“A native ferris wheel for the Moulid at Qasr Raswan.” Photograph by George R. Swain, 1920s. KM 0150.

KM 0150 is one photograph in a series of images that are largely unattributed and undated. It shows us a glimpse into the local preparations for the festivities of the Moulid, or Mawlid, the observed birth of the Prophet. Swain’s note for the photograph reads, “A native ferris wheel for the Moulid at Qasr Raswan.” Though it does not look exactly like a Ferris wheel as we might imagine one, the concept is the same, albeit on a smaller scale. This image shows us the kind of fun people were creating for themselves in Egypt in the 1920s. People were riding, spinning around, enjoying themselves. The children in the photograph are smiling.

As summer commences, many of us will seek out similar thrills. Whatever form the fun takes, the joy is universal, transcending time and space.

From the Archives #40 — March 2019

By Sebastián Encina, Collections Manager

A recurring theme in the “From the Archives” blog posts is coming across random materials and being surprised by what turns up. Often, the archives provide a fun opportunity to learn about the history of the Kelsey’s excavations and of the museum itself. As we have shown, sometimes within those papers are random tidbits that were not expected, such as a recipe for rice.

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For this month’s “From the Archives,” we present this interesting cigar box. It is labeled “Spanera” and “Havana Cigarillos.” Of course, the Kelsey Museum would not normally collect cigar boxes — or cigars — but that’s not what we find when we look inside.

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When we open the box, we see that it was used for storing thirteen glass plate negatives. From an archaeological standpoint, we may be most interested in the images that show ancient Egyptian artifacts: Bes amulets, fish, various other gods and images, scarabs, and hieroglyphs. However, it is the plates that show people — people posing and having fun — that draw our attention. There is no information in the images about these objects and people. The clues to this puzzle are on the box itself.

As the reader can see, the cover of the box has some handwritten notes on it. First we see “Komter Scarabs I,” followed by “Egypt,” “Maria Luz,” and finally “Scheveningen.” “Komter” refers to Douwe Komter, a Dutch artist who ran an art dealership in Amsterdam from 1902 to 1926. “Scheveningen” is a region of The Hague, Netherlands. Added with the knowledge that Spanera was a Dutch cigar company, we see more evidence that this is all taking place in Netherlands. But how did the Kelsey come to have this box of images?

When we took a closer look at the pictures of people, we saw a familiar figure that is perhaps a clue to the source of the images. The kneeling man at the left in image 001, the face peeking out at rear center in 002, the man on the floor, at left, in 003 — all are a young Samuel Goudsmit (1902–1978), U-M professor of physics from 1927 to 1946, amateur Egyptologist, and friend to the Kelsey Museum. Goudsmit, his wife Irene, and daughter Esther have donated many beautiful and wonderful materials to the Kelsey over the years. In these photos we see Goudsmit in his early days in the Netherlands, his place of birth.

On page 6 of A Scientist Views the Past, the catalogue of a 1982 exhibition celebrating the Goudsmit collection, we find notes from Goudsmit about how in the early 1920s he was searching the art and antiquities dealers in Amsterdam for ancient Egyptian amulets. He couldn’t find any until he came across a small collection in D. Komter’s shop. Komter allowed Goudsmit to borrow the amulets to study, even though he did not purchase them. Are these the scarabs we see in the images?

These plates likely came into the Kelsey collection in 1981 with other Goudsmit donations. They have not yet been catalogued or incorporated into the archives. We will continue to research the images and try to figure out who the other people are. Unfortunately, a search for “Maria Luz” did not reveal much, as it is a common name. However, we hope to provide more information in the future. And we will of course continue to stumble upon more interesting finds like this.

 

From the Archives #39 — February 2019

By Sebastián Encina, Collections Manager

In 2018, a Registry intern worked with the archives to help assess materials and devise a plan for organization and some culling. As this intern had not previously worked with archival materials, they were encouraged to seek out the expertise of our colleagues at the Bentley Historical Library, the University of Michigan’s primary historical repository. Bentley archivist Aprille McKay advised our intern about plans for organization and creating a finding aid, and provided suggestions for disposing of non-essential or duplicated materials. At the end of the semester, the intern wrote a report along with recommendations, which the Kelsey will implement.

The Kelsey is very appreciative of Aprille’s insights into handling archival materials and archives in general. In addition to these, Aprille also brought the Kelsey gifts. In the 1990s, when Newberry Hall was undergoing renovations, we sent archival materials, including maps and photographs from the site of Karanis, Egypt, to the Bentley for safekeeping. Aprille returned these materials to us in 2018, and we’re still inventorying them to determine  how to incorporate them back into our collections.

This semester, a new intern is working with the Karanis materials, and they found an image that shows a feature in a temple wall labeled “crocodile mummy niche” (fig. 1). This excited them, and they wanted to learn more, which is why this exciting discovery is this month’s “From the Archives.”

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Figure 1. “Plate VI: Construction Details.” The crocodile mummy niche is illustrated at left. Maps and Plans. Map No. 118. Kelsey Archives 5.8401.

Two temples survive at Karanis, the South Temple, which we know from an inscription was dedicated to the crocodile gods Pnepheros and Petesouchos, and the poorly preserved North Temple. The image above shows construction details of the “crocodile niche” found in an inner room of the South Temple (figs. 2 and 3). Scholars think that a crocodile mummy on a bier would have been placed in this niche. While no crocodile mummies were found in the ruins of the South Temple, crocodile bones were found in both the inner shrine (room C) and the room south of the shrine (room X) (Ali 2013, p. 50).

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Figure 2. Photograph of the crocodile niche in the north wall of room B in the South Temple. Kelsey Archives 0490.
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Figure 3. Plan of the South Temple. Room B is highlighted pink, the crocodile niche is outlined in red. It runs below a set of stairs. After Boak 1933, plan X.

Below is a photograph of a partial crocodile mummy resting against a stone wall of the inner sanctuary of the North Temple (fig. 4). This image is the only specific record of crocodile mummies at the site of the North Temple at Karanis, although the excavators noted the discovery of “a number of crocodile mummies” to the southwest of the temple (Boak 1933, p. 13). However, the record of objects, the list of every item found at Karanis by the University of Michigan expedition (1924–1935), does not list any crocodile mummies.

We do not know where this particular mummy wound up. It likely it went to the Cairo Museum in the division of finds, but this is by no means certain. Its location remains a mystery.

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Figure 4. Part of mummified crocodile in the inner sanctuary of the North Temple at Karanis. Kelsey Archives 5.1692.

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Read more about the Egyptian cult of the crocodile in the chapter “The Temples and the Gods,” in Karanis: An Egyptian Town in Roman Times, by Elaine K. Gazda (2nd ed., 2004). An abridged version of this chapter, without illustrations, is available here.

References

Ali 2013 = Ali, Aida Akbar. “Karanis Crocodiles: The Egyptian Crocodile Cult at Roman Karanis.” Bachelor’s honors thesis, University of Michigan, 2013.

Boak 1933 = Boak, Arthur E. R. Karanis: The Temples, Coin Hoards, Botanical and Zoölogical Reports, Seasons 1924–31. University of Michigan Studies, Humanistic Series 30. Ann Arbor: University of Michigan Press, 1933.

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.

 

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Left to right: Donald White, Dick Edwards (in background), unidentified man, and Ann and Ted Buttrey. KAP00044.
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Donald White (center right) chatting with an unidentified man in the exhibition gallery. KAP00054.
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Donald White at the podium. Seated, left to right: Clark Hopkins, unidentified woman, Ginnie Moss. KAP00033.
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Donald White helping with the projector during a presentation. Ted Buttrey seated at right. KAP00039.
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Left to right: Clark Hopkins, Donald White, Ann Buttrey, Ted Buttrey, and James Mason at James Mason’s retirement party. KAP00097.
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Standing at right: Clark Hopkins and Donald White at James Mason’s retirement party. KAP00123.
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Foreground, left to right: James Mason, Donald White, and Ann Buttrey at James Mason’s retirement party. KAP00135.
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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 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.

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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.

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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.

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 * 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.”