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.
Cairo, Egypt. A funeral procession coming along a main street — note the flowers. KS147.08.
Cannes, France. Approach to a villa — palms and flower beds. KS245.02.
Athens, Greece. Palace Gardens. Flower beds, two palm trees, other trees and shrubbery beyond. KS210.04.
Cairo, Egypt. Flower bed with palm trees beyond, Gezireh island. KS160.10.
Athens, Greece. Flower stalks of the century plants up on Lycabettus. KS212.06.
London, England. Peace centotaph, erected 1919. Many flowers at the base. KS011.01.
Brussels, Belgium. Flower vendors in the old Grand Place. KS236.02.
Cairo, Egypt. Ezbekieh gardens, flower beds and vista down a walk. KS142.11.
London, England. Flowers at the base of the Centotaph, a close up view. KS011.05.
Cairo, Egypt. Flower beds and walk at Gezireh island. KS160.12.
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.
Brussels, Belgium. Flower vendors in the old Grand Place. KS236.03.
Cannes, France. Approach to a villa — flowers, palms, other trees. KS246.10.
Compiegne, France. Statue of Joan of Arc, flower market in front. KS228.11.
Cairo, Egypt. Flower beds, shrubbery and lawns, Gezireh island. KS160.04.
Jerusalem. Some of the formal flower beds in the garden of Gethsemane. KS129.02.
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.
Paris, France. A flower push cart. KS014.12.
Cairo, Egypt. Close-up view of a flower bed and shrubbery beyond. Gezireh island. KS160.11.
Cairo, Egypt. Flower bed in foreground, looking toward two palms with path and bridge below. KS160.05.
Paris, France. Flower sellers by the Porte Maillot. KS235.06.
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.
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.
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 0704.
Camp house and scenes at camp. KM photograph 0703.
Camp house and scenes at camp. KM photograph 0702.
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 0712.
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.
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.
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.
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.
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.
Thanks to the efforts of Dr. Cathy Person, along with the work of conservators Suzanne Davis and Caroline Roberts and registrar Michelle Fontenot, the Kelsey Museum has kept rather busy over the last few years with class visits to the Museum. Every semester, hundreds of students come through to view our displays, speak with the staff, and learn about museum work. On top of that, the Kelsey Museum provides an added benefit to students: the opportunity to handle ancient artifacts associated with their classes. Students and instructors from Classics, History of Art, Middle East Studies, English, History, German, and a slew of other departments are routinely visiting and getting to work with our collections. This likely would have made Francis Kelsey happy, as he began collecting in order to give students the opportunity to see firsthand the items that they were reading about in their books.
The students who get to work with artifacts have the distinct pleasure of handling some rare artifacts, and some very old ones as well. The Kelsey brings out ceramics such as ancient Greek and Roman amphorae, fish plates, and kylikes, textiles, mold-made figurines and lamps, papyri, cartonnage mummy masks, stelae, Latin inscriptions, glass vessels, amulets, and many coins, among many other types of artifacts. The items are chosen for specific classes, so students can better grasp the lessons being taught.
More and more, the Kelsey is also making its archives available for these classes as well. For this month’s “From the Archives,” we present a selection of archival photographs that were used for instruction during the past year. In this group, we see photographs from Egypt, Italy, and Greece. Created by three photographers — George R. Swain, Easton T. Kelsey, and an unidentified photographer — the images show various aspects of archaeology: artifact remains, architecture, landscape, as well as the human toll of disaster.
Photos 5.1790 and 5.3342, both taken by Swain, give the viewer a glimpse of finds from Karanis, Egypt. These are often used to demonstrate how people in Karanis, as elsewhere in the world and through time, would hoard and hide their belongings. 5.1790 shows letters written on papyri hidden underneath a threshold. Image 5.3342 shows a pot that contained a hoard of coins. Perhaps the person who hid it intended to return and collect the coins for later use.
Photograph 2003.05.0014 was taken by a professional photographer, probably as part of a series that could be sold as a souvenir. These photo collections (Views of Italy, Views of Egypt, etc.) were common in the 1800s, when traveling was not as easy as it is today. This particular photograph demonstrates the destruction and devastation wrought by Mt. Vesuvius when it erupted in 79 AD and covered various cities in towns in southern Italy, including Pompeii, where this photograph was created.
KK267 and KS209.02 are views of Athens and the Acropolis. They were taken by Easton Kelsey, son of Francis Kelsey, and George Swain, respectively, in the 1920s.
The Kelsey Museum provides opportunities for students and other visitors to see not only artifacts, but also the papers, maps, and photographs we also care for. These materials are here for study, as research is not artifact-based only. We have hosted a number of classes that have looked at non-artifact collections, and we expect more to come in the future. Those students will have a deeper experience as a result.
In December, many of us spend a lot of time at local stores perusing goods that we think would make great gifts for our loved ones. We spend hours trying to find the perfect gift, the item that shows how we think about those we care about, whether they are close to us or far away.
For this month’s “From the Archives,” we go one hundred years back in time, to December 1919, to find a University of Michigan staff member far from home but doing the same thing — going to shops and markets, perhaps to find souvenirs to send back home to Michigan. In 1919 and 1920, U-M photographer George R. Swain accompanied Francis Kelsey on an expedition through Europe and the Mediterranean region. Their goal was to document classical sites as well as to identify sites that might have potential for future excavations.
Here we present seven images taken by Swain in Istanbul — or Constantinople, as it was referred to then (some photo captions refer to the area of “Stamboul”). While traveling, Swain photographed not only archaeological artifacts, sites, and structures, nor did he focus solely on collections at other museums. Almost everywhere he went, Swain turned the camera around to his surroundings, to the people in the area, offering us a glimpse into life in those countries at that time.
The photos shown here cover a time period of 20 days, from 5 December to 24 December 1919. Swain captures life at several shops and businesses in Istanbul. We see a person fixing umbrellas. A cobbler’s shop. A busy corner at the bazaar. Bread and fruit for sale. All the shopping Swain chose to capture.
These photographs allow us to see what the city was like one hundred years ago. People who visit Istanbul now will notice many similarities, but also many differences. The bazaar, though altered, remains. Maybe some of those same shops are still there! And the sentiment is the same. People going about doing their shopping, purchasing items they need, or gifts for friends and family. Now in 2019, we continue doing the same.
November 2019 marks the ten-year anniversary of the opening of the Kelsey Museum’s William E. Upjohn Exhibit Wing. Last month’s “From the Archives” showed the old exhibition spaces of the Kelsey Museum. Though Newberry Hall served the Kelsey well for many years, it was not designed as a museum space. Security, climate control, and space constraints limited what the museum staff could do. Only a few hundred artifacts were ever on display at any time, and the temporary exhibition space was small, allowing for only a few additional artifacts to be brought out. From early on, museum staff knew a new space was needed to make the best of the collections.
When Ed and Mary Meader offered to make this dream possible, the process of imagining the new space and preparing for the eventual opening began. This was a big endeavor for the Kelsey staff, as we had to imagine something from nothing. Where would walls be? What cases would we have? At first, these considerations were just figments of our imagination. We worked closely with University of Michigan architects to plan the new space, eventually hiring an outside firm to design the Upjohn Wing.
For this month’s “From the Archives,” we present a sample of the planning that went into the new building. While we do have the architectural plans of Upjohn (the original designs did not have a second floor, instead offering just a loft), here we show what it takes to plan for the display of an artifact, and how much can change between concept and implementation. In these files, we see the planning that went into how the coffin of Djheutymose was going to be displayed. For those who remember, Djheutymose was displayed horizontally for many years, on pins above a mirror. In this way, visitors were able to see the top of the coffin while the mirror showed the interior. With the new display, the Kelsey’s curator of Dynastic Egyptian Collections, Janet Richards, wanted Djheutymose to be vertical, making it easier for visitors to see the coffin’s interior decorations.
In order to make this happen, the entire Kelsey team had to be involved. Janet and other curators lent their vision; the exhibition team, the architect, and the consultant lent their eyes and ideas for design; the conservators assessed the viability of the plans. We looked at examples of coffin displays at other museums, assessing how those coffins were supported and how stable they were. The object list included among these images shows artifacts envisioned for this case that were cut for various reasons. Much changes during the course of an exhibition installation.
This kind of painstaking work happened over and over for all the cases, pedestals, and displays that are now on view in Upjohn. For years, each case was planned in a very similar fashion. Lists were made, visions shared, all of it altered time and again until we settled on the designs seen currently. And after ten years, some have changed and others will continue to change. Be sure to check back often over the next ten years to see how much more changes between now and 2029.
November 2019 marks the ten-year anniversary of the opening of the William E. Upjohn Wing of the Kelsey Museum of Archaeology. This expansion, a generous gift of Ed and Mary Meader, allowed the Kelsey Museum to upgrade our galleries and storage space, and expand what we offer to the museum-going community. With the new wing, the Kelsey was able to display many more artifacts — from a few hundred to well over one thousand.
Newberry Hall, the original home of the Kelsey Museum, housed and displayed our artifacts for over 90 years. Though not originally designed as a museum, the building provided a unique and beautiful space to highlight the Kelsey collections. For this month’s “From the Archives,” we present photographs that show the Newberry galleries before the Upjohn Wing was constructed. In those times, the galleries were split between Egypt and the Near East in one room, and Roman/Etruscan art in the other. Special exhibitions were mounted in the remaining spaces.
Views over time of Newberry Hall, the North, South, Turret, Hallway, and Classroom Galleries. Dates not known.
The primary gallery spaces were housed in what are now the lecture hall and public programs room. The former classroom gallery is now office space for the Kelsey Education staff. The “Turret Gallery” and “Fireplace Gallery” now house the office of the Kelsey’s associate director. Even the hallway had been used to display artifacts. Today, this space displays only prints of photographs from our Archives.
Long-time visitors to the Kelsey will find some of these images familiar, as it was only about 12 years ago that we closed the museum to prepare to move the objects to the new Upjohn Wing. Many of the artifacts seen on display in these photographs are still on display in the current galleries. Others are no longer on view due to various reasons including curatorial decisions and returned loans.
Though there is a charm to the old displays, we’ve definitely upgraded in many ways. The new galleries provide the objects with proper climate control and improved security. The Newberry served us well for many years, but we are incredibly happy to have Upjohn today.
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.
It is August, when students and faculty are beginning their return to Ann Arbor for the new academic year. Soon all these people will settle into the familiar routine of classes and meetings and deadlines. It will all be different, and yet still the same.
During their time away, these people were off scattered about the globe. They were studying, excavating, visiting with colleagues, and advancing their research. However, during their summer, they took the time to find moments for themselves. To vacation, to enjoy the various locations where they found themselves. To live where they had traveled.
Many of the archival photographs the Kelsey Museum possesses were taken by University of Michigan people, such as Easton Kelsey, E. E. Peterson, but primarily by George R. Swain. These photos show the work they were undertaking in locations such as Antioch, or Karanis, or Carthage. However, not all the photographs in the archives are of buildings, artifacts, or of U-M people at work.
For this month’s “From the Archives,” we present a single roll of photographs taken in 1919 when George Swain was traveling for work. He turns his attention to the city he finds himself in, Istanbul. No longer simply photographing the work they are doing, he captures moments in the city, random events, interesting scenes. We see a train, the boats along the Golden Horn, people on the Galata Bridge, and an umbrella mender working on the street.
“Dining car with the metal letters in place, at least at the top.” KS043.02.
“The coat of arms, apparently, of the sleeping car company.” KS043.03.
“The umbrella mender sitting on the sidewalk on a typical street.” KS043.04.
“Typical view on one of the modern streets. At this time, signs in French were allowed.” KS043.05.
In those days, there were no digital cameras or cell phones to capture these views. Instead, Swain was using the equipment he brought with him. Most “professional” photographs were captured with a view camera using glass plates. These were heavy and cumbersome to carry. Swain also carried a smaller Kodak that used film. This was used for additional photographs, not the professional ones of artifacts and architecture, but everything or anything else. That choice is captured in the archival numbers given to these photographs (KS for Kodak Swain, KP for Kodak Peterson, KK for Kodak Kelsey, depending on who was using the camera at the time). For these, the “43” refers to the arbitrary film roll number assigned. At the time, rolls of film only had 12 frames. Swain knew he was limited in how many photographs he could take before he ran out of film.
No caption. Another view on the Golden Horn, to show number of small sailing craft. KS043.06.
“Up the Golden Horn from the Galata Bridge, ferry steamer in the foreground.” KS043.07.
“Another view on the Golden Horn, to show number of small sailing craft.” KS043.08.
“Down stream from the Galata Bridge.” KS043.09.
The first frame of this roll, KS043.01, is, unfortunately, missing from the archives, so there is no image to show. However, we do have Swain’s notes, and thus know he captured the following: “Dining car with all the metal letters removed to get brass in the war presumably.”
“Up the Golden Horn, to show multitude of sailing craft.” KS043.10.
“View toward Pera and the Galata Tower.” KS043.11.
Years from now, current students and researchers will go through their collection of photographs from their travels in the summer of 2019. Not everything was work-related, and memories will be rekindled of the adventures they went on this year.