MAGYAR AFRIKA TÁRSASÁG AFRICAN-HUNGARIAN UNION

AHU MAGYAR AFRIKA-TUDÁS TÁR AHU HUNGARIAN AFRICA-KNOWLEDGE DATABASE ------BORSOS, Balázs Photos of the Teleki Expedition and the emergence of photography in African Field-Studies / A Teleki-expedíció fotói és a fotográfia megjelenése az afrikai terep-tanulmányokban Eredeti közlés /Original publication: Photos of the Teleki Expedition and the Emergence of Photography in African Field-Studies, 2005, Volkskunde in Rheinland-Pfalz, 19. évf., 2. sz., 113–135. old. Eredeti Elektronikus újraközlés/Electronic republication: AHU MAGYAR AFRIKA-TUDÁS TÁR – 000.001.306 Dátum/Date: 2015. október / October 31. Az elektronikus újraközlést előkészítette /The electronic republication prepared by: B. WALLNER, Erika és/and BIERNACZKY, Szilárd Hivatkozás erre a dokumentumra/Cite this document BORSOS, Balázs: Photos of the Teleki Expedition and the emergence of photography in African Field-Studies / A Teleki-expedíció fotói és a fotográfia megjelenése az afrikai terep-tanulmányokban, AHU MATT, 2015, 1–29 old., No. 000.001.306, http://afrikatudastar.hu Eredeti forrás megtalálható/The original source is available: Közkönyvtárakban / In public libraries Megjegyzés / Note: ellenőrzött és szerkesztett szöveg / controlled and edited text 2 Borsos Balázs

Kulcsszavak/Key words magyar Afrika-kutatás, a Teleki-expedíció fotóinak tudományos szerepe, részletes elemzése és összehasonlító vizsgálata, a fotográfia mint az etnológiai terepmunka és kutatás jelentős hozzájárulása African studies in Hungary, scientific role, detailed analysis and comparative investigation of the Teleki expedition’s photos, the photography as a significant contribution to the ethnological fieldwork ------

AZ ELSŐ MAGYAR, SZABAD FELHASZNÁLÁSÚ, ELEKTRONIKUS, ÁGAZATI SZAKMAI KÖNYV-, TANULMÁNY-, CIKK- DOKUMENTUM- és ADAT-TÁR/THE FIRST HUNGARIAN FREE ELECTRONIC SECTORAL PROFESSIONAL DATABASE FOR BOOKS, STUDIES, COMMUNICATIONS, DOCUMENTS AND INFORMATIONS * magyar és idegen – angol, francia, német, orosz, spanyol, olasz és szükség szerint más – nyelveken készült publikációk elektronikus könyvtára/ writings in Hungarian and foreign – English, French, German, Russian, Spanish, Italian and other – languages * az adattárban elhelyezett tartalmak szabad megközelítésűek, de olvasásuk vagy letöltésük regisztrációhoz kötött/the materials in the database are free but access or downloading are subject to registration * Az Afrikai Magyar Egyesület non-profit civil szervezet, amely az oktatók, kutatók, diákok és érdeklődők számára hozta létre ezt az elektronikus adattári szolgáltatását, amelynek célja kettős, mindenekelőtt sokoldalú és gazdag anyagú ismeretekkel elősegíteni a magyar afrikanisztikai kutatásokat, illetve ismeret-igényt, másrészt feltárni az afrikai témájú hazai publikációs tevékenységet teljes dimenziójában a kezdetektől máig./The African- Hungarian Union is a non-profit organisation that has created this electronic database for lecturers, researchers, students and for those interested. The purpose of this database is twofold; on the one hand, we want to enrich the research of Hungarian Africa studies with versatile and plentiful information, on the other hand, we are planning to discover Hungarian publications with African themes in its entirety from the beginning until the present day.

Photos of the Teleki expedition 3

PHOTOS OF THE TELEKI EXPEDITION AND THE EMERGENCE OF PHOTOGRAPHY IN AFRICAN FIELD-STUDIES

Balázs Borsos

In 1887–1888, the Hungarian Count Sámuel Teleki, accompanied by the Austrian naval officer Ludwig Ritter von Höhnel, led an expedition to certain regions of Equatorial East Africa, a region mostly unknown to Europeans of the time. From a scientific point of view, it was definitely the most successful expedition by Austro- Hungarian citizens in the history of Africa's exploration. On the 3.000 km long journey they discovered Lake Rudolf and Lake Stephanie (today Lake Turkana and Chew Bahir). They were the first to see an active volcano (Teleki's Volcano) in the middle of a continent1 and surveyed a great part of the East African Rift Valley – two facts that spawned new theories in geology. Teleki was the first to reach the snow-line on at 5.300 m, and the first explorer who set foot on Mount Kenya, climbing up to around 4.300 m. Teleki and Höhnel made many observations on the climate, flora and fauna of the territories visited.2

1 On Höhnel's map (1894), the volcano is marked „Teleki Volcano", later changed to „Teleki's Volcano". This statement of the expedition was criticised most. The world-famous French–Belgian geologist, Haroun Tazieff claimed in the 1950s that Teleki and Höhnel were wrong, the volcano could not have been active in 1888 (Tazieff 1960: 225–226). Recent researches suggest however that the mistake was made by Tazieff, Teleki and Höhnel could indeed have seen volcanic activity on the small mount (Borsos and Móga 1986: 113). 2 In addition to the descriptions of the botanical and zoological environment, the travellers brought home a valuable collection of plants and animals. „In the herbarium of altogether 237 species, 32 new flowering plants, 1 new fern, 32 new mosses, 4 new liverworts and 9 new lichen species were identified" (Farkas 1988: 47). „They also brought home many trophies, but only a few survived the Sеcond World War. From a scientific aspect, the 4 Borsos Balázs

They collected more than 400 ethnographical objects, most of them from Maasai and Kikuyu tribes.3 Their observations and the description of different peoples living along the route provided important contribution to our knowledge about the ethnography of Africa.4 The scientific results of the journey were published by Höhnel in several articles and in a book written in German and translated into Hungarian and English. Most Hungarian scientists agree that from a scientific point of view, the Teleki Expedition has been the most successful expedition ever led by Hungarians, meaning not only those in Africa. Considering their findings, the unique collection of photographs taken by the travellers definitely has to be mentioned. These photos did not get much attention until their originals were published. This can be explained by the fact that the narrative of the expedition was illustrated mainly by drawings, even though many of them were made after photographs.5 The original photos remained unknown to the wider public, until Zsigmond Jakó and Géza Entz found a part of them in archives of Teleki-castles in today's Romania during and after World War II. Unfortunately, the photos owned by Höhnel were destroyed in the war.6 The surviving material was later published in Romania by Lajos Erdélyi (1977). This publication is very important

most valuable catches are the reptiles collected, since as many as three new species were identified among them, all chameleons" (Kádár 1988: 42). 3 All objects were donated by Teleki to the National Museum in Budapest. Today, 338 items are held in the Ethnographical Museum in Budapest. 52 items were sent to Vienna to the Anthropological–Ethnographical Depart- ment of the Natural History Museum in 1889. The original collection of 407 items contained the possessions of 11 different peoples. The majority of the items came from Kikuyu (31%) and Maasai (22%) tribes. Most of the objects are weapons (38%) and jewels (34%), the rest are clothes, pots and tools. The value of the collection must not be underestimated, as it shows the material culture of African peoples before the invasion of European goods. This can best be seen by the high rate of traditional materials in the jewels: 60% of them are without European glass pearls (Borsos 1998: 75–84). 4 Tо evaluate the ethnographic descriptions of the Teleki expedition, refer to the author's book on this topic (Borsos 1998), in which he compared the expedition's narratives with the accounts of other African travellers. 5 The German (Höhnel 1892а), the Hungarian (Höhnel 1892b) and the English editions (16h-nel 1894) are nearly identical in terms of illustrations. 6 Erdélyi 1977: 70. Photos of the Teleki expedition 5 as the original photographs of the African expeditions were seldom published. Unfortunately, very few pictures on the newly discovered territory north of Lake Baringo were preserved: In Erdélyi's book there is only one and it is of poor quality, too.7 Yet, the narrative talks about pictures taken around Lake Rudolf and some of the drawings showing this territory were made after photos.

Kikuyu warriors, Erdélyi 1977: 35.

In Kikuyuland, Erdélyi 1977: 37.

7 Erdélyi 1977: photo 52. 6 Borsos Balázs

Nevertheless, the existing collection is remarkable, too. Though they were not the only explorers equipped with cameras8, they are among the first who published photo-prints in their narratives in addition to illustrations drawn after photographs. Taking photos became easier and more frequent at the time of their expedition, as new photographic tools became widely available. Between 1871 and 1878 the so called dry plates (bromide gelatine plates) were invented, easier to handle and keeping the quality of the picture for a longer time without having to be developed.9 What caused real difficulties was carrying the bulky cameras and a vast amount of supplies into the bush and protecting them from heat and damage, then to transport the exposed plates unbroken to the place of development.

In Kikuyuland, Höhnel 1892а: 433.

At the beginning of the exploration of inner Africa's geography and ethnography, photos did not play such a key role in documentation. In the fifties and sixties of the 19th century travellers aiming to find the

8 Erdélyi (1977: 69) – being a citizen of Ceausescu's Romania – assumed this due to lack of information. 9 Gautrand 1998: 233. Photos of the Teleki expedition 7 source of the Nile took draughts-men with them instead of cameras or – leading a project of this kind they had to be real jack-of-all-trades – they created drawings themselves. Sketches made on the spot were completed back home by official draftsmen, based on the traveller's narratives and notes. The explorer of Lake Albert, Samuel Baker for instance, proved to be a keen observer and recorder of African culture on his journey in 1861–65. He published vivid portraits of African people, depicted their tools, settlements and huts.10 Georg Schwein- furth, the well-known botanist and the explorer of the Nile-Congo watershed published a lot of pictures – supposedly drawn by himself – of the land and its inhabitants. (Some of these drawings were used in the narrative of the Baltic German Wilhelm Junker's journey, who visited the region a decade later.) Schweinfurth showed the Africans, their costumes, hairstyles and body ornaments11, their jewels12, tools13, musical instruments14, huts15 and domesticated animals16 realistically, in details, and in a great number. Harry Hamilton Johnston who surveyed the Kilimanjaro District some years before Teleki, published his own drawings in his book, but neither his descriptions nor the quality of his drawings were of great value or realistic.17 The best known explorer of Africa, David Livingstone might have been the first, who, on his later trips, carried a camera into the interior of the continent. His first book (Livingstone 1861) which gives an account of his work in the forties and fifties, has a lot of drawings as illustrations, but there is no evidence of their origin. Another book (Livingstone – Livingstone 1865) was published about his most important journey between 1858 and 1864, on which he travelled along the Zambesi, surveyed its tributaries and discovered Lake Nassa and Shilwa. In this book he wrote with great respect about his companions, of whom Dr. Kirk dealt with geography, botany and

10 Baker 1987: 126, 137, 150, 179, 206, 235. 11 Schweinfurth 1878:33, 161, 162, 172, 173, 174, 215, 228, 254, 291, 194, 301. 12 Schweinfurth 1878: 65, 159. 13 Schweinfurth 1878: 67, 297. 14 Schweinfurth 1878: 43, 165. 15 Schweinfurth 1878: 46, 424, 425. 16 Schweinfurth 1878: 47, 48. 17 Johnston 1886: 24, 26: dhows, 118, 120: Chaga irrigation system 158; Chaga warehouses 441; Chagatools, 444: Chaga huts. 8 Borsos Balázs zoology and Charles Livingstone with ethnography, i.e. character, language and culture of natives.18 In the preface the author explains that part of the illustrations were made after the photos of his two companions.19 In the first chapter he mentions that photos by Charles Livingstone recorded their journey as long as supplies lasted.20 Unfortunately the illustrations have no reference to their origin. So we do not know which ethnographic illustration was made after a photo, however, their number and interesting topics make them important.21 No separate book was written about Livingstone's last journeys, only his diaries were published (Livingstone – Waller 1880), containing no reference on taking photos. The other person who made essential discoveries in Equatorial Africa was Henry Morton Stanley who became world-famous for „finding” Livingstone in Ujiji at Lake in 1871. However, his second journey through Africa from east to west was scientifically more important. There are a number of ethnographical illustrations in this narrative22, but unfortunately they are not included in the 11 drawings that – according to the list of illustrations in his book – were made after Stanley's photographs. 4 of them are portraits of his team members, 2 were made in Zanzibar, only 5 are from the interior: two are camp-scenes in Tanganyika, the remaining 3 show parts of Lake Victoria.23 Interestingly, a picture of the canoe-fleet of King Mtesa taken in Uganda is missing in this volume, although it is included in the Hungarian edition of Stanley's book, stating that it was drawn after a photograph.24 Stanley's original diaries were found by his grandson among old bills and papers and were published in 1961.25 Illustrations

18 Livingstone — Livingstone 1865: 10-13. 19 Livingstone – Livingstone 1865: vii. 20 Livingstone – Livingstone 1865: 12. 21 Livingstone – Livingstone 1865: 112: blacksmith's workshop, 113, spinning chair: 115: lip-deformation og the Pelele, 236: sansa and calabash music instruments, 439/ fishing; 466: Ajawa arrowheads, 543: grinding. 22 Stanley 1890: 97: Nyamwesi pagazi, 245: huts of East Central Africa, 261: musical instruments, 265: African weapons, 286: canoes and paddles of Africa, 303: treasure house, arms and treasures of Rumanika (King of Karagwé), 452: war-drums of the tribes of the Upper Livingstone. 23 Respectively: Stanley 1890: 32, 53, 94, 310; 14, 50; 57, 63; and 93, 154, 161. 24 Stanley 1883/1: 369. 25 Stanley 1961:7. Photos of the Teleki expedition 9 in this volume contain a drawing about Mtesa, the kabaka of Uganda, which was also made after Stanley's original photograph as the caption claims.26 It is a pity that not the original photo was published. The pictures taken in the interior were probably damaged by heat and humidity so much that they are not in printable condition any more. This assumption is supported by the fact that none of the illustration of the last two third of Stanley's journey were drawn after original photographs. At the end of the 1880's, Stanley organised his third significant expedition to rescue Emin Pasha, the governor of Equatoria, who got into a dangerous situation in the Mandi-uprising. Emin, accompanied by the German Franz Stuhlmann returned to Middle-Africa in 1890– 92. The narrative of this journey (Stuhlmann 1894) was also illustrated with drawings that were made after original photos and sketches as the title page informs. The Congo-Nile watershed in Middle Africa was explored by expeditions of Wilhelm Junker between 1875 and 1886. The first volume of his diaries was edited with the contribution of Richard Buchta, a photographer. No wonder that numerous drawings were made after photographs27, and original photos are included as well.28 There are many zoological and botanical pictures, especially in the third volume. These rich illustrations that accompany a diverse and thorough description of high scientific quality make up a very important photo-documentation of the inner part of Africa and was compiled about a decade before the Teleki-expedition. Buchta was a field photographer on his own right as well. He made photos in Sudan and Equatoria in 1877–78, and later he took part in Emin Pascha's expedition to Bunyoro in today's Uganda. He might have been the first explorer who edited a whole book from his own photos and drawings taken on this journey (Buchta 1881). Baron von Götzen, the discoverer of Lake Kivu and the explorer of the Virunga Volcanoes crossed Africa four years after Teleki's return to Europe. At the beginning of his narrative he mentions that he had

26 Stanley 1961: 113. 27 Junker 1889: 114. Djur village, 211. Sandé woman, 295. Saradé oracle, 577. Sandé warrior, Junker 1891: 20. guitar, 41. throwing knives, 585. Ваnyoro girl. 28 Junker 1889: 39. hood, 245. Sandé bracelets, Junker 1891: 20. Sandé warrior and woman. 10 Borsos Balázs brought a camera and many photographic plates in his luggage29, so his book is full of drawings made after photos. The full-page prints are obviously photos, but the subject is mostly not ethnographical.30 There are drawings of ethnographical kind, but there is no reference of their photographic origin.31 Sometimes Götzen mentions his photographic activities in his account. For example he took photos at the rim of Nyiragongo to capture this active volcano of the Virungas.32 Looking through the books and articles of those explorers who visited the same area of Equatorial Africa before and right after the Teleki-expedition we discover that they also had taken – often ethnographical – photos of the natives. In 1863 a young Englishman called Charles New joined the mission station of Johann Krapf, discoverer of Mount Kenya. In the next 12 years until his death, New made several journeys in the Tana River region, in Usambara Mountains, and around Kilimanjaro. His narratives contain drawings made after photos, but these were taken exclusively of the Nyika and Galla tribes at the coast.33 Right before Teleki's journey Joseph Thomson, an Englishman and Dr. Gustav Fischer, a German traveller visited Maasai- and Kikuyu- land. Unfortunately Fischer died right after his second journey in 1886 so he could not summarise his experiences in a book. However, the illustrations of his long article about his first trip are photos. Among them, the most important of ethnographical interest is the picture of a fully dressed Maasai warrior.34 The most famous traveller of Maasailand, Thomson, mentions in the preface of his report that the illustrations of the book were made (with only few exceptions) after his own photos.35 We can clearly see the photo origin on drawings portraying people: the pictures are ill-composed, as they are one-to- one copies of the snapshots. The persons are looking away, being

29 Götzen 1895: 6. 30 Götzen 1895: 205. Sukuma porters, 305. riverside. 31 Götzen 1895: 94. Ngoni warriors, 126. Uyovu doorpole-carvings, 198. A hut in Rwanda, 219. tobacco-pouch. 32 Götzen 1895: 213. 33 New 1971: 126, 270. 34 Fischer 1885: 32. 35 Thomson 1887: X. Photos of the Teleki expedition 11 obviously embarrassed facing the camera. Interestingly, they look blurred in many drawings as if they were not in focus.36 On their way back from the Kilimanjaro, Teleki and Höhnel met Hans Meyer, the first to climb the mountain with Ludwig Purtscheller. The German lawyer, with an interest in volcanology, used some real photographs glued on sheets of cardboard-paper as illustrations in his book.37 The narrative of his journey to Usambara Mountains was written by his companion, Oscar Baumann. In this book some illustrations were also drawn after photos.38 Baumann led another expedition to the headwaters of the Nile in 1891–93. The drawings of his account – some of them full-page prints – were also made after photos, in this case after his own. The photo origin also becomes evident in the fact that the posture of the people is not a typical, shy Victorian mood as e.g. in Baker's drawings.39 In the last years of the century the explorers of Equatorial East Africa already used real photos in their accounts – as photography had spread wide.40 It can be concluded that the discoverers of Africa in the second part of the 19th century did not consider photography as an important documentary means that should be applied regularly, but as an auxiliary to draw more correct and more interesting illustrations. The photo-documents of the Teleki-expedition correspond to this main stream, but some of them are worth a closer look. Unlike some other Africa-travellers, Höhnel did not clarify in the first chapters of his narrative that they had used photographs for documentation. The reason for this might be that their expedition took

36 Thomson 1887: 161. Maasai women with painted face, 181: Maasai women at Kapté, 261. Married Maasai women. The photo origin is especially obvious on the following pictures: 83. Mandara's warriors (the only sharp picture) 137. Ndorobbo men and women, 205. warriors of Lykipia, 235. natives of Njemps /women/, 267: Kwafi girls at Njemps 279. married Kavirondo women, 294: daughters of the Chief of Massal, 312. Suk warriors. 37 Meyer 1890: opp. 37. porters, opp. 73. market in Taveta, opp 55: water- holes, opp 95. Mariale (Miriali) chief of Marangu, opp. 100: courtyard in Marangu. 38 Baumann 1890: 79. Samba men, 117. Korogve village, 121. gate of Mruasi village. 39 Baumann 1894: 216. Rundi hairstyles, 225. Waha settlement. 40 e.g. Cavendish 1898: 379: Awlien (?) women, or Wickenburg 1899: 315: two Maasai warriors. 12 Borsos Balázs place in a kind of transition period. At that time – as we saw – taking photos on expeditions was not a special activity worth emphasising and still the documentary value of photographs was not evident. Interestingly enough, Höhnel failed to mention camera and supplies among the equipment of the expedition, although he is not short enlisting them: all kind of tools and instruments41, goods for trading42 a wide variety of guns and weapons43 are detailed in length. Even on the list of bags to be transported, the photographic equipment is included only in a summary of „instruments".44 Some of the tools and instruments are minutely described in the scientific processing of the journey: cameras are not among them.45 On the first pages of Teleki's unpublished diary, there is a long list of instruments and guns: no photo gear can be discovered on the list.46 In 1886, at the time of their preparations, dry plates were already common, but the invention photographic papers by George Eastman was still under development.47 As Höhnel mentioned once that the plates were damaged in the heat48, it seems obvious that they used dry plates. The type of the camera is a more difficult guess. Although between 1880 and 1890 a series of portable cameras were invented, the Anastigmat type that provided high quality in sharpness, and the binocular cameras that were easy to handle and light to carry, appear only in 1892.49 Teleki and Höhnel mostly used tripods. Screening their

41 Höhnel 1892a: 9, 1892b/1: 14, 1894/1:9. 42 Höhnel 1892а: 13–14, 1892b/1: 21–22, 189411: 12–13. 43 Höhnel 1892а: 38, 1892b/1: 51, 1894/1: 36. 44 Höhnel 1892a: 30–31, 1892b/1: 44–45, 1894/1: 29. 45 Höhnel 1890: 16–17. 46 The original manuscript of the diary is kept in the Special Collections Library of the Michigan State University. Location: Mss 94 (www.lib.msu.- edu/coll/main/africana/spc.htm). The Hungarian Geographical Museum in Érd has a photocopy of the original manuscript which had been in the property of Ct. Géza Teleki, and was given to the Museum by his son, Ct. Paul Teleki. Unfortunately, 1 could only see the copy, which is very difficult to read in some parts. Chances are that cameras are mentioned in the damaged part. With regard to the fact that during his preparations for the journey Höhnel learnt the methods of photography (Höhnel 1926: 45), he might have been the person who provided the camera. 47 Gautrand 1998: 238. 48 Höhnel 1892а: 114, 1892b/1: 151, 1894/1: 107. 49 Gautrand 1998: 235, 236, 240. Photos of the Teleki expedition 13 pictures, some long-time exposures cam be revealed. Both of these facts suggest that their equipment was one of the commen and reliable older types.

Miriali's wives and slave girls, Erdélyi 1977: 19.

During the journey they took a large number of pictures. Erdélyi, the publisher of the photos surviving World War ii presented 64 pictures taken on African ground. Three of them are portraits of Teleki, Höhnel and Dzsumbe, their African leader, 48 of them were taken during the journey (from Zanzibar to Lake Rudolph and back to the coast), and the rest document their excursion to Harar. But the list of illustration in Höhnel's book suggests that there were more than 48 photos taken on the journey. Except for the Hungarian edition, where it is missing, each picture on this list contains a reference whether it was drawn or printed after a photograph. However, the list of the German and the English editions are not identical. Investigating the topics more closely and comparing them to the surviving photos it becomes obvious that only the German edition can be considered reliable. If we do not take into account the pictures showing trophies, 14 Borsos Balázs ethnographical objects or live wild animals50, 41 of the illustrations were made after a field-photograph. A comparison with the surviving pictures reveals that 18 original pictures do not exist anymore. But Höhnel did not use all of the pictures taken for illustrating the book. About half of the existing photos (exactly 24) did not appear in print. If we take these rates we can conclude that at least 41 + 2x18 = 77, i.e. around 70–80 pictures could have been taken during the expedition.

Miriali's wives and slave girls, Höhnel 1892а: 165.

Both the narrative and Teleki's diary are short in alluding to taking pictures: Höhnel recorded eight, Teleki four occasions, and three records of each list are about the same event. Once Höhnel wrote that in Taveta they had to leave the camera standing in its place for a long time before the natives forgot about its existence and their image could be captured.51 Another occasion Höhnel refers to the picture of the wives of Miriali, a Chaga leader52, and another time his army and

50 It is difficult to believe that their original was a snapshot. Elands (Höhnel 1892a: 97, Höhnel 1892b/1:129, Höhnel 1894/1: 91.), giraffes (Höhnel 1892a: 129, Höhnel 1892b/1:177, Höhnel 1894: 121.), or antelopes (Höhnel 1892а: 557, Höhnel 1892b/2:201, Höhnel 1894/2: 71.) are not the type of animals to pose for a camera in a short distance. 51 Höhnel 1892a: 114, Höhnel 1892b/1: 151, Höhnel 1894/1: 107. 52 Höhnel 1892a: 122, Höhnel 1892b/1: 160, Höhnel 1894/1: 115. Photos of the Teleki expedition 15 men.53 Once he mentioned his photographic activity on Mount Kilimanjaro54, and on another occasion he remarked that Maasai warriors and girls were not bothered when he took their picture.55 At Lake Baringo he had himself taken out of the camp despite an illness to take a picture of Teleki's quarry.56 Once at Lake Rudolph two elephants attacked their camp: after Teleki killed them, Höhnel took a photo of the catch.57 The last remark in the narrative refers to taking a picture of a Turkana leibon (medicine man) who had a really beautiful hair-bag.58 Teleki refers to the three occasions mentioned above in his diary: Miriali's women, his army, the elephants at Lake Rudolf and a forth one, after returning to Lake Baringo a picture about Maasai warriors.59 It is remarkable that none of the pictures taken during the second half of the journey (after leaving Lake Baringo), although mentioned in the texts, were used as an illustration of the narrative. This may suggest damage to the photoplates under the harsh conditions. Höhnel's comment on the picture of the Turkana leibon confirms this assumption, as he stresses that this piece turned out to be one of the worst of his photographs.60 The same thing is suggested by the fact that only three pictures in Höhnel's book illustrating the previously unexplored territory were drawn after photographs, and only one of the originals survived. This is unfortunate as they were true evidence of the „exploration”. Some of the photographs were used as illustrations without any change, others were just source material for drawings. This is especially true for pictures about people. There are for example three Taveta men on a drawing, taken from two different photos, and,

53 Höhnel 1892a: 198, Höhnel 1892b/1: 259, Höhnel 1894/1: 181. 54 Höhnel 1892a: 201, Höhnel 1892b/1: 276, Höhnel 1894/1: 192–193. 55 Höhnel 1892a: 276, Höhnel 1892b/1: 357, Höhnel 1894/1: 255. 56 Höhnel 1892a: 523, Höhnel 1892b/2: 161, Höhnel 1894/2: 39. 57 Höhnel 1892a: 611, Höhnel 1892b/2: 269, Höhnel 1894/2: 125–126. 58 Höhnel 1892a: 746, Höhnel 1892b/2: 443, Höhnel 1894/2: 253. 59 Teleki 1887–88: 15.04.1887. (The page is missing from the copy of the original manuscript, but legible in the typewritten version). The others respectively: 13.06.1887 (p. 73); 19.03.1888 (p. 216); 18.08.1888 (p. 278). 60 Höhnel 1892a: 746 („Und ich bedauere lebhaft, dass die photographische Aufnahme zu den gaenzlich misslungenen zaehlt.”) „I very much regret that my photograph of him was a failure.” (Höhnel 1894/2: 253.) The Hungarian edition wrote that it belongs to the „kevéssé sikerültek /of lesser quality/” (1892b/2: 443.). 16 Borsos Balázs perhaps due to the multiplication method, the sides are changed.61 To make the composition look better, one of Miriali's wives, originally looking away on the photo, appears on the other side of the small group in the book, while two other persons at their feet were taken out.62

Chaga warrior 1, Höhnel 1892a: 237.

The subjects of two different portraits are borrowed from the picture of Miriali and his men taken at the „egreczier platz” (drill- ground): a photo also mentioned by Teleki.63 These pictures are linked to different sources in the German and English editions of Höhnel's book: the sitting man wrapped in a blanket is claimed to be a native of Little Arusha64, while the standing young person with his elbow on a cub is called Kilimanjaro warrior.65 Only in the Hungarian edition are

61 Höhnel 1892а: 107, 1892b/1: 149, 1894/1: 101, Erdélyi 1977: Photo 14, 15. 62 Höhnel 1892а: 125, 1892b11: 165, 1894/1: 117, Erdélyi 1977: Photo 19. 63 Teleki 1887–88: 73. Erdélyi 1977: 17. 64 Höhnel 1892а: 181. Höhnel, 1894/1: 166. Little is a settlement south of Kilimanjaro, at the River Pangani. 65 Höhnel 1892а: 197, Höhnel 1894/1: 180. Photos of the Teleki expedition 17 they both identified as Chaga warriors.66 Perhaps the most fundamental change of a photo can be tracked down on the drawing of two Kikuyu warriors.67 On the original photo of a slightly poor quality a group of five warriors can be seen and a sixth one closer to the camera.68 The draughtsman A. Mielichhofer chose the person on the far right and the one in the middle, drew only them in a picture, equipped them with big shields, and put wide bladed spears in their hands instead of the original narrow ones. The pieces he used for the extra weapons could be the objects of the ethnographical collection, as similar ones are shown later in the book.69 The original photographs served as a base for illustration in three technically different ways. In many cases they were just source material after which the illustrators, Johan Ludwig Fischer and A. Mielichhofer produced their own drawings and engravings (for example the one above). Other illustrations were made as a one-to-one copy for lithography. Though in lack of all the original photos it can not be stated definitely, it seems likely that it was the most frequently used method in the narrative. But there are six illustrations that seem to be identical prints of the original photograph. Those copies for press were made at the time by photogravures or photolithography (later developed to autotyp).70 As making photogravure was more expensive and therefore used primarily for highly artistic volumes of limited number71, the six illustrations are most probably photolitho- graphies and the same plates must have been used in Vienna, Budapest and London, as the pictures are identical in all the three editions. Since this technique requires precision quality, no moving items can be depicted this way. The only acceptable shot is showing Teleki and his men with his quarry, the two elephants killed on 16th January, 1888.72 The other five are the entrance gate to Taveta, a scene

66 Höhnel 1892b/1: 237, 257. 67 Höhnel 1892а: 357, 1892b/1: 405, 1894/1: 327. This fundamental modification might have been the reason why this drawing is not identified in the list of illustrations as one drawn after a photograph. 68 Erdélyi 1977: Photo 35. 69 Höhnel 1892a: 389, 1892b/1: 507, 1894/1: 357. 70 Aubenas 1998: 226, 231. 71 Frizot 1998: 228. 72 Höhnel 1892а: 521, 1892b/2: front-piece. In Höhnel 1894/2: 41. the date is false (16. 12.). 18 Borsos Balázs of the rain forest on Mt. Kilimanjaro, a waterhole at Seki, water palms, and the rocky banks of the river Guasso Nyiro.73 All originals survived, the only exception being the hunting scene at Baringo.74

Camp-scene in Reshiatland, Erdélyi 1977: 52.

Among the authors writing on the Teleki-expedition there is a certain degree of disagreement about the authorship of the scientific findings during and after the expedition.75 Hence, it is worth having a closer look on the authorship of the photos. Whenever Teleki or Höhnel mention photographic activity, the pictures without exception were taken by Höhnel. Teleki can be recognised on six of the surviving photos and book illustrations of unknown origin76 while Höhnel on only one77 – not counting their respective portraits. On another illustration showing two other Europeans, probably Meyer and his companion, Eberstein at Taveta, Höhnel might be in the

73 Respectively Höhnel 1892a: 103, 203, 285, 327, 457, Höhnel 1892b/1:145, 265, 369, 425, 1892b/2: 73, Höhnel 1894/1: 97, 185, 264, 299, 417. 74 In Erdélyi's book, there is another photo of this hunt from a different view. There are three dead elephants here: a total of four were taken by Teleki. (Höhnel 1892a: 523, Höhnel 1892b/2: 160-161. Höhnel 1894/2: 38–39.) 75 See Borsos 2004. 76 Erdélyi 1977: photo 8, 14, 28, 31, 51, Höhnel 1892а: 521, 1892b: front- piece, 1894/2: 41. 77 Erdélyi 1977: photo 50. Photos of the Teleki expedition 19 shadow of the tent.78 The only surviving picture on the newly discovered territory shows a camp scene among the Reshiat. One European can be recognised in the shadow, sitting on a chair.79 But on the drawing of this scene another European appears as well, and he must be – guessed by his typical moustache – Teleki.80 So the sitting person can be Höhnel, and the author of the picture: Teleki. Or ... Chuma, Höhnel's Swahili servant.

Camp-scene in Reshiatland, Hohne/1892a: 321.

Erdélyi claims that taking photographs at the time was such an easy job that even Africans could do it. The Europeans just commanded: „Piga, piza!” and their servant made the exposures.81 But he is not right. Höhnel made clear that although Chuma „knew how to set up the various instruments &c, and even how to manipulate them”, the

78 Erdélyi 1977: photo 30. Text: 20. 79 Erdélyi 1977: photo 52. 80 Höhnel 1892а: 649, Höhnel 1892b/2: 321, Höhnel 1894/2: 161. 81 Erdélyi 1977: 69–70. Erdélyi calls the servant Duma Mussa mistakenly. Duma Mussa was an ill-famed caravan guide, who escaped from the ex- pedition in Njemps (Höhnel 1892b/2: 150.) / In Hungarian both names (Chu- ma and Jura) are written in the same way: Dzsuma. The order „Piga, pizza” in the English and German editions are: „Piga, pitscha!”. 20 Borsos Balázs instruction merely meant that Chuma had to pack all the needed equipment and bring it after Höhnel.82 So we can conclude that a majority of the pictures could be Höhnel's work, with an important exception. Pictures showing scenes when he was seriously ill, namely in Kikuyuland, even in lack of direct evidence in their notes might be attributed to Teleki. And those pictures are perhaps of the highest value in the collection. Thematically, the photos (not counting the portraits)83 can be divided into five blocks: scenes of the life of the caravans (camps, trekking), shots on and after hunting, landscapes, pictures of plants, and so called ethnographical photos about people of the interior. Although at the beginning the expedition was planned to be a hunting safari, only 3 pictures are on this topic, and very few about plants and vegetation (5). Most pictures belong to the first or the last group, sometimes overlapping, since many shots about natives were taken in their own camp. At the time of the expedition the landscapes could get the highest appreciation, as they proved the expedition's geographical discoveries (16 pieces). Now we appreciate those three taken at the upper region of Mt. Kilimanjaro most. Teleki and Höhnel were the first who took pictures there, as Johnston had only drawings. Meyer published excellent pictures on Mawenzi and Kibo from the same view (the Saddle), but he failed to take high quality pictures from the rim of Kibo, so he offered only a painting-like photogravure.84 Unfortunately none of Нöhnel's photos show Kibo, the highest part of the mountain, and, even more sadly, pictures from the alpine region of Mt. Kenya are also missing. Concerning this mountain, we know only a distant view85, Teleki apparently did not bring the camera up with him. Another photo could have been the proof of an important geological observation. When reaching Lake Rudolf, the travellers discovered the existence of an active volcano, later named after

82 Höhnel 1892а: 445, 1892b/2: 64, 1894/1: 4050–406. 83 The photos of Teleki, Höhnel and Dzsumbe survived, while the one on Qualla Idris (Höhnel 1892a:12, 1892b/1: 16, 1894/1:11), the head of the body-guards, did not. It is worth mentioning that there are differences in the portraits of Teleki taken and drawn: the gun and his hands are in different positions, while his face, hat and clothes are the same. 84 Meyer 1890: орр. 123: Kibo, орр 145. Mawenzi, орр. 135: crater-rim. He also published a picture about Kibo, from another view (орр. 158.). 85 Höhnel 1892a: 401, 1892b/2: 1, 1894/1:367. Photos of the Teleki expedition 21

Teleki, reporting smoke coming out of its small cone.86 But on the drawing after a photo that show the southern end of Lake Rudolph, none of the mounts seem to be active.87 As neither Höhnel, nor Teleki recorded when the original photo was taken (before or after dis- covering the active volcano), and as the original is missing, un- fortunately one of their most important discoveries can not be proven by photo-documentation.

Kikukyu (?) smiths, Erdélyi 1977: 40.

Nearly 20 photographs can be considered of ethnographic value, only two originals are missing.88 Two pictures were taken in Taveta, at the foot of Mt. Kilimanjaro, on which dresses, weapons and tools, especially bags and gourd flasks of Taveta people can be seen.89 An unusual and interesting picture is about the gate of Taveta: a small

86 Höhnel 1892а: 582, 1892b/2: 232, 1894/1: 96–97. 87 Höhnel 1892а: 577, 1892b/2: 233, 1894/2: 93. 88 Beauty of Kilimanjaro (Kilimandscharo Schöne): Höhnel 1892a: 121, 1892b/1: 161, 1894/1: 113.); Moran und Dittos beim Tanze. brans and their Dittos or Sweethearts Dancing. (Höhnel 1892a: 273. 1892b/1: 361, 1894:/1 254.). 89 Höhnel 1892a: 107, 1892b/1: 149, 1894/1: 101, Erdélyi 1977: Photo 14, 15. 22 Borsos Balázs inlet covered with logs through which people can creep into the village only one by one.90 Teleki and Höhnel prepared their ascent to Mt. Kilimanjaro in the small Chaga state Marangu. Three known and one missing photos were taken here, the most interesting ones being about the „sultan” Miriali and his „army”. About 60 armoured men can be seen on the two pictures.

Miriali's warriors 1, Erdélyi 1977: 17.

Unfortunately most of them are sitting, apparently not to over- shadow the power and beauty of their leader. Besides Miriali, four other warriors are standing, so we can study the arms and ornaments of . Miriali is probably the one in front of the sitting people equipped with a helmet with ostrich feathers and a huge shield that nearly covers his whole body. Curiously enough his portrait did not appear in Höhnel's book, but only two of his men from the other picture.91 From the life of the „” (Chaga people at Mt. Meru) four pictures are published in Erdélyi's book92, and only one (not the

90 Höhnel 1892а: 103, 1892b/1: 145, 1894/1: 97, Erdélyi 1977: Photo 10. 91 Höhnel 1892а: 181, 197. 1892b/1: 237, 257, 1894/1: 166, 180, Erdélyi 1977: Photo 17–18. 92 Erdélyi 1977: Photo 21–24. Photos of the Teleki expedition 23 best) appears in Höhnel's narrative.93 One not published by Höhnel shows a huge conical hut made of leaves, with some natives sitting in front of it. The other valuable photo is a close up of a group of people. We can clearly see the bracelets on some women's arms, and the way of transporting goods on the head. Two pictures are known of . One of them survived in origina194, while taking the other one is mentioned by Höhnel, and a third one by Teleki.95 Both of the known pictures show Maasai from a great distance.

Miriali's warriors 2, Erdélyi 1977: 18.

As there is only one known photo of the people of the newly discovered territory (the poor quality picture about the camp in Reshiat country), the photos of highest ethnographic value are those taken of Kikuyus.96 As Fischer, the first traveller who crossed Kikuyu-

93 Höhnel 1892а: 169, 1892b/1: 225, 1894/1: 155. 94 Höhnel 1892а: 441, 1892b11: 57, 1894/1: 401, Erdélyi 1977: Photo 42. Erdélyi claims that a third photo (Photo 32.) shows Maasai as well, but a closer look on weapons, clothes, hairstyle and physical anthropology of the warriors suggests that they are probably Somali people, and the photo was taken upon return of the expedition. 95 Höhnel 1892a: 276, 1892b/1: 357, 1894/1: 255, Teleki 1887–88: 278. 96 Erdélyi 1977: photos 35–41. 24 Borsos Balázs land (spending there only four days97, while the Teleki-expedition stayed more than a month), died soon after his journey without being able to report about it, the photos of the Teleki-expedition are the first known documentation about this people. Three of them appeared in Höhnel's book98, while the original of a fourth, claimed to be drawn after a photo, is not known.99 Four photos show warriors and other people either following the caravan or facing them on the opposite sides of creeks.100 Taking them was an appreciable job of the cameramen as watching the pictures a pre-hostility tension can be clearly felt. We can agree with Erdélyi, these pictures prove the stressed conditions in which the expedition had to wander for more than 30 days, and explain why they used their riffles against spears and arrows. Still we have to consider Erdélyi's view unreasonable, who compared Teleki to the best known Hungarian war-reporter, Robert Capа.101 Two other pictures are close-ups about Kikuyu warriors on which we can see their hairdos, dresses and weapons.102 The seventh surviving photo shows blacksmiths at work. Although Erdélyi claims that they were Kikuyu smiths it does not seem to be true.103 The picture is a peaceful scene, the working men look into the camera and children can be seen on the left. As the Kikuyus have never let the expedition to have a closer look into their villages, and for security reasons none of the travellers pursued to go there, the picture was more likely taken elsewhere. Neither the physical appearance of the two men working does resemble the Kikuyus on the other pictures. Their face and stature support the idea of them being Ndorobbo, but Höhnel makes clear that in the Ndorobbo villages visited, children fled from the caravan.104 So this picture was probably taken in a place where they spent a longer and peaceful time, most

97 Höhnel 1892a: 367, 1892b/1: 477, 1894/1: 335. 98 Höhnel 1892а: 331, 357, 369, 1892b/1: 433, 465, 481, 1894/1: 305, 327, 337. 99 Höhnel 1892а: 363, 1892b/1: 473, 1892b/1: 1894/1: 333. 100 Erdélyi 1977: photos 36–39. Photo 37 appears on a less interesting drawing (Höhnel 1892a: 331, 1892b/1: 433, 1894/1: 305.), only the drawing about photo 38 is closer to the dramatic mood of the original. (Höhnel 1892a: 369, 1892/b: 481, 1894/1: 337.). 101 Erdélyi 1977: 70. 102 Erdélyi 1977: photo 35, 41. 103 Erdélyi 1977: photo 40, Text: 81. 104 Höhnel 1890b: 32. Photos of the Teleki expedition 25 likely around Mt. Kilimanjaro. If the photo still shows Kikuyus, the picture must have been taken homeward bound, when the expedition was in good terms with Kikuyus and Höhnel was in good health105, however the lack of photographic material on the second half of their journey questions this view.

Conclusion

The photos of the Teleki-expedition must be considered as having an outstanding value in the African field-studies of the time. Though from a technical point of view some are of poor quality, thematically they are in the mainstream of the exploratory expedition. The ordinary and common photos about native groups or camp scenes are above standard level and they should not be underestimated in the ethnographic survey of Africa. Pictures taken during the mounting of the Kilimanjaro or the photos that preserve the tense situation in Kikuyuland before the warfare are really unique. On both places they were the first Europeans to take pictures. Though unfortunately only a very low number of photos were taken on the newly discovered territories, this shortcoming does not diminish the value of their photo-documentation.

Photos of the Teleki expedition 26

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Photos of the Teleki expedition 29

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