Kenneth Spencer Research Library

Summer is a time for both large and small projects for the students and staff in Conservation Services. Summer 2016 was certainly no exception, as our crew tackled a somewhat daunting and very dirty re-housing venture. This was an amazing group effort, with lots of help and good advice coming from many corners of the KU Libraries.

In the early nineties, the Spencer Research Library took possession of a massive set of technical drawings of the Kansas City Terminal Railway track system. The drawings date from the late nineteenth through the mid-twentieth  century, and are reproduced in a number of media including cyanotypes (aka blueprints), Photostat copies, and hand-drawn images. They range in size from smaller than a piece of notebook paper to rolls over thirty feet in length. There are just under five hundred sets of drawings varying in amount from one to more than twenty-five drawings per set.

A sample drawer from the metal cabinets. Click image to enlarge.

The drawings arrived at Spencer Research in their original storage cabinets. The cabinets were metal, painted dark green, and came in four different depths, the largest of which could not be accommodated in the building. The drawers of the largest cabinet were thus removed and stored with boards separating each layer. Some of the drawers containing the drawings were lined with kraft paper, while others were not. Many of the drawings had been tightly rolled and secured with rubber bands. The rubber bands had become brittle with age and had also adhered themselves to the drawings. Because the cabinets had been stored in the train station, there was a great accumulation of grime and dust on cabinetry and drawings alike.

Previous storage of the track drawings. Click image to enlarge.

Six student employees and I began the project by talking through various options for staging and cleaning the drawings, setting up the new storage area, and housing the drawing sets. Meetings were also held with Sherry Williams (Curator of the Kansas Collection), Meredith Huff (Operations Manager for Spencer Research Library), and Whitney Baker (Head of Conservation Services) to discuss the logistics of the project.

It was quite the puzzle to work out where and how to stage the drawings, since the incoming storage unit needed to be assembled where the old cabinetry had stood. The drawing sets in their drawers were eventually staged in four separate locations and the old cabinets were removed.

Moving the cabinets required a lifting device. Click image to enlarge.

Using existing shelving hardware, the team put together a framework of upright brackets and placed shelves at strategic locations to give strength and support to the soon-to-be-constructed honeycomb of tubes. A total of five-hundred and thirty mailing tubes were assembled to house the drawings. Each tube was lined with a heavy-weight, acid-free piece of cardstock, and then placed into the shelving unit.

Modified shelving units empty (left) and with cardstock-lined tubes inserted (right). Click images to enlarge.

At the same time, the student staff began removing the desiccated rubber bands from the drawings and gently cleaning each roll with a soft brush. It was a grungy task that took more than two months to complete. As throughout, the students handled this portion of the project with a great deal of aplomb and good-natured ribbing, and only a couple of grossed-out moments involving truly disgusting rubber bands.

Special Collections Conservator Angela Andres was instrumental in helping solve the issue of how to corral the drawing sets in the tubes, making retrieval and return go smoothly. Through her research, she found a medical supply company that was able to provide us with a continuous virgin Tyvek sheath that could be cut to the correct length for each set.

Tyvek sheath securing a set of drawings together inside the cardboard tube. Click image to enlarge.

After cleaning, the drawings were slipped into the Tyvek sheath, secured with cotton tying tape, and loaded into the honeycomb.

Honeycomb structure. Click image to enlarge.

As each bay was filled, labels were created that correspond with the set numbers and adhered to lids, and the tubes were capped.

Caps and labels attached to the tubes. The final product! Click image to enlarge.

This project was a tremendous group effort, involving the cooperation and assistance of many library staff, including those mentioned above and also the Annex team, Michelle Curttright, Doug Hatton, and Ryan Swartz, and the Libraries procurement officer, Kristin Vickers. Most importantly though, was Conservation Services student staff: Brecken Liebl, Valery Herman, Sara Neel, Rebecca Younker, Monica Funk, and Jocelyn Wilkinson. Their hard work was graciously recognized by others in the KU Libraries, as the team won the Jayhawks of the Quarter award for the third quarter of the year.

Roberta Woodrick
General Collections Conservator

Recently, I have been working with Sherry Williams, Curator of Collections and Curator of the Kansas Collection, to survey and treat priority materials from the Kansas Collection. Many of these items had notes in the finding aids about conservation treatment needs.

One particular item was accompanied by a note—dated 1968, the year Spencer Library opened—indicating that the item should not be used until treatment could be secured. The item, which was received in a mailing tube, had been dutifully filed away. We were happy to find it and finally be able to address its needs. Inside was a rolled paper item with a linen backing. It was a plat map of the town of Stranger, KS, surveyed by A.D. Searl and dated June 11, 1867. The item was caked in mud, extremely stained, and very fragile.

Rolled item as it appeared when removed from the tube. Call number RH Map R560. Click image to enlarge.

Detail of the mud along top edge, also showing linen backing below. Call number RH Map R560. Click image to enlarge.

I removed as much dirt and mud as possible with a tool called a microspatula (shown in the above image), lightly dry-cleaned the item with vinyl eraser crumbs to remove additional surface dirt, and removed the linen backing, which peeled right off. The map was placed in a bath to wash away as much of the water-soluble degradation products as possible, then placed in an alkaline bath to add a buffer as the paper ages. Next, it was lined on the back with Japanese paper and wheat starch paste to provide more support to the fragile item. Areas of loss were filled in with toned Japanese paper.

Map of Stranger, KS, before and after treatment. Call number RH Map R560. Click images to enlarge.

Once the treatment was completed and I could safely view the map, I had to learn more about this town with the “strange” name. From the History of Leavenworth County Kansas by Jesse A. Hall and Leroy T. Hand (Topeka: 1921), I discovered that the town was originally named “Journey-Cake” after a nickname given to a Delaware chief who lived nearby. When the town was platted in 1867 (the date of the map), the name was changed to Stranger after the Big Stranger Creek that flowed through the town. However, another nearby town had the same name, so in 1877 the name was again changed to Linwood, in honor of the linden trees in the area.

As you can see from the map, Stranger was situated along both the Big Stranger Creek and the Kansas River. In May and June of 1903, excessive flooding wreaked havoc in the town. On the evening of May 29, 1903, Hall and Hand note, “Many frame houses were swept away in the newly made channel of the Kaw. Some were upturned and were not swept away. Water in places was 20 feet deep over what had been Linwood. The postoffice was completely submerged” (324). The townspeople eventually decided to move their town of Linwood a mile north, where it remains today.

Photo print of flood, possibly 1903. Call number RH PH 1055.2.
Click image to enlarge (redirect to Spencer’s digital collections).

Whitney Baker
Head, Conservation Services

Back in February, I wrote about undertaking the treatment of the 1683 volume Kazania na niedziele calego roku [Sermons for Sundays of the Whole Year] by Pawel Kaczyński (call number: Summerfield D544). At the time of that writing, I’d gotten as far as disbinding, cleaning, and mending the folios before it was necessary to put the treatment aside for a while to focus on other things. This summer I’ve brought the book out again to tackle the next phase of its treatment, preparation for rebinding.

I had already mended most of the folios along the inner spine folds, but they still needed reinforcement, or guarding, along the outer spine folds in order to be strong enough for sewing. Because there are exactly 100 single-folio sections in this volume, I chose a tissue for the guards that was as thin as possible to minimize added bulk while also providing the needed strength to the folds.

Guarding of folios in progress. Note the smooth spine folds on the guarded folios, left, and the more ragged edges of the unguarded folios on the right. Click image to enlarge.

The text block with guarding completed.

The amount of damage to this volume was so significant that for the sake of efficiency it was necessary to keep the mending fairly minimal, adding stabilizing mends with very thin tissue where it was most needed, rather than filling in every loss with color-matched tissue. However, there was a very large loss to the lower portion of the title page, so I chose to fill in that area; the page was physically stable, but a fill greatly improves it aesthetically. I selected a Japanese paper of about the same weight as the text paper and toned it with diluted watercolors to achieve a color that is sympathetic to the color of the text paper.

Title page of Summerfield D544 with toned Japanese paper compensation along lower edge.

With the mending and guarding completed, the next step is sewing. The text block was originally sewn two-on, which means that two gatherings are sewn on at once with a single pass of thread, rather than sewing the gatherings one at a time. This method of sewing reduces the swell of the spine that occurs when thread is introduced; with 100 gatherings in this text block, it makes sense that the original binder chose to sew it this way, and I decided to re-sew it in the same manner. To further reduce bulking (in addition to sewing two-on), I chose a thinner thread than I’d normally use. The last step before sewing was to select endpapers for the volume; I opted for Nideggen, a paper whose tan color and subtle texture go very well with that particular warm, grimy tone of old paper. Once the endpapers were cut, I lined up the text block on the sewing frame to mark the positions of the cords, strung the cords onto the frame, and at long last, started sewing.

Stringing up the cords on the sewing frame.

Beginning to sew – three sections down and only 97 to go!

About one-quarter of the way through sewing.

Detail of double cords and kettle stitch at tail end of text block.

Sewing multiple gatherings at a time can be a little awkward at the outset, but now that I’ve found a rhythm to it, the sewing is progressing at a nice pace. Soon all that will be left to do will be to put the book into a new paper case. I look forward to presenting the finished volume in one last installment of this series later this fall!

Angela Andres
Special Collections Conservator
Conservation Services

I have spent this summer as the second Ringle Summer Intern in the Stannard Conservation Lab at the University of Kansas. My internship focused on a collection of 41 scrapbooks held by the University Archives. The project involved developing a survey tool, surveying the collection, identifying items for treatment, treating some items, and rehousing/housing modification all of the scrapbooks. Most of the books dated from the early 1900’s. They showcase student life leading up to and in the early stages of World War One. This insight into student life at a very interesting and volatile time, especially as we come to the 100 year anniversary of the United States entering the war, is why the Archives uses these materials as teaching tools with undergraduate students. The scrapbooks also include very interesting objects, like firecrackers with the line written next to them, “We shot up the house.” I was unable to discover which house they were talking about but I have no doubt they would have been in serious trouble for doing that today! From a conservation perspective these firecrackers required some consolidation and I discovered one of the fuses is still in place!

Firecrackers in a scrapbook compiled by Emery McIntire, after treatment.
Call Number: SB 71/99 McIntire. Click image to enlarge.

For more information about the project please see the story published in the Lawrence Journal-World in July: http://www2.ljworld.com/news/2016/jul/04/century-old-ku-student-scrapbooks-pose-preservatio/.

And for some video footage of the treatments please see the coverage from 41 Action News: http://www.kshb.com/news/region-kansas/ku-working-to-preserve-former-students-scrapbooks.

I came into the project most excited about the problem-solving aspects of working with scrapbooks and I was not disappointed. Many conservators greatly enjoy the problem-solving we get to do every day to determine the correct treatment for objects. For conservation purposes scrapbooks are exceedingly complex and complicated objects. Usually they are made of cheap materials and contain a variety of attachment methods. This means that once they make it to a conservator’s bench they are normally quite fragile. The binding may be failing, the support paper is usually brittle, and the various types of attachment—glue, tape, staples, pins—may have partially or completely failed. Given all of this, determining the most appropriate treatment is not always an easy task.

For the scrapbooks I treated I came across two main problems: What is the most efficient way to mend the innumerable tears to the support pages? What is the best way to conserve objects found in the scrapbooks? Some of these objects include firecrackers, a Red Cross bandage, and a 100 year old piece of hardtack.

Red Cross bandage in a scrapbook compiled by Florence Harkrader,
before (top) and after (bottom) treatment. Call Number: SB 71/99 Harkrader.
Click images to enlarge.

I found that the most efficient way to repair all the tears—averaging around 10 tears per page—was to use a remoistenable repair paper. I made this using a 10gsm tengujo Japanese paper and a 50/50 mix of wheat starch paste and methyl cellulose. Once this was dry I was able to score it into many different sized strips to fit the various sized tears I was repairing.

Of the two objects mentioned the bandage was the easier to conserve. It is pinned to the support page and can swivel a bit on the pin allowing it to extend beyond the edge of the book. This means that there are some creases and frayed areas that have developed over time. To conserve it I repositioned it to sit inside the edges of the book and flattened out the creases.

The hardtack required creative problem-solving. It had a number of problems. It was coming unstuck from the support paper, had a number of cracks, and has writing on it. The ink means that any organic solvent-based consolidant could not be used. Additionally, it was desirable to keep the hardtack on the page, rather than removing it and storing it separately. In the end it was decided to remove the page from the scrapbook (the book was already disbound and is not being rebound) and to store it in its own enclosure within the same box as the scrapbook. The hardtack was re-secured to the page using a very dry wheat starch paste. The page was put in a float mount and support pieces were made with cutouts for the hardtack on one side and a dance book on the other. All of this was then sandwiched between pieces of corrugated board with ties attached. This created a housing that will both protect the page and aid in flipping the page from one side to the other.

Page from Emery McIntire’s scrapbook, featuring a piece of hardtack,
before (top) and after (bottom) treatment. Call Number: SB 71/99 McIntire.
Click images to enlarge.

Detail of the hardtack. Call Number: SB 71/99 McIntire. Click image to enlarge.

This project allowed me to hone my skills in many areas of conservation. My project will allow for these scrapbooks to be accessed and stored more safely going forward. I highly recommend stopping by Spencer Research Library, calling one or two to the reading room, and losing yourself in KU’s past!

Noah Smutz
2016 Ringle Conservation Intern

Around the time of our Care and Identification of Photographs workshop here at Spencer, I had four photographs from the John W. Temple Family Papers on my bench in the lab for cleaning and rehousing. The timing was fortunate for me, because from the workshop I picked up some tips for housing these items, and I also learned about the unique process by which two of the prints were created.

The photographs arrived, as so many of their age and type do, in precarious condition: two medium-format portraits were housed in heavy, dusty frames that were held together with brittle nails, and two military panoramic photographs were mounted to brittle, acidic boards. All of the photographs had varying degrees of surface dirt and apparent water staining, and had sustained some amount of physical damage caused by their housings and mounts. Before they could be safely handled and described by processing archivists, it was necessary to stabilize their condition and provide them with protective housings.

The two panoramas, which depict Troop D of the 9th Cavalry during the time of John Temple’s service in the Spanish-American War, were mounted to boards about two inches larger on all sides than the prints themselves. One board had a large loss along one edge and the other had a long vertical break in it that was causing the photograph to tear. Rather than removing the photographs from the backing entirely (a time-consuming and rather harrowing process), I trimmed the mounting board close to the edges of the photographs to reduce the potential for further breakage. I also cleaned the photographs with polyurethane cosmetic wedge sponges, which are gentle on the delicate emulsion surface. I then created a folder of archival corrugated board fitted with pieces of 1/8” archival foam to hold the photographs snugly in place, leaving spaces to allow them to be removed if necessary. The foam is firm enough to support the photographs but will not abrade the fragile edges.

Panoramic photographs of 9th Cavalry, Troop D, circa 1898.
John William Temple served in this unit during the Spanish-American War.
Photographs shown in housing with foam inserts.
John W. Temple Family Papers. Call Number: RH MS-P 1387 (f).
Click image to enlarge.

Detail of panoramic group portrait of Troop D of the 9^th Cavalry
(with adorable canine companion), circa 1898. John W. Temple Family Papers.
Call Number: RH MS-P 1387 (f). Click image to enlarge.

The two portraits were in more fragile condition and therefore needed a few more layers of protection than the panoramas. They depict Fred Thompson, and a young Pearl Temple, wife of John W. Temple. With the curator’s and archivist’s consent, I removed the frames; the frames’ backings were loose and unsealed, which made removal easy, but the portraits were covered in surface dirt that had made its way in through the unsealed backings. I cleaned the portraits as I had the panoramas, with soft cosmetic sponges. Each portrait is mounted to a thin board, and I again considered but ultimately rejected the idea of removing the mounts. Even though past water damage has caused the portraits to warp slightly, they were stable enough once removed from the frames.

To house the portraits, I first affixed the portraits to sheets of mat board using large archival paper corners as shown in the photos below. The corners gently hold the photographs in place to prevent shifting, and they can be easily unfolded to allow for viewing or removing the items. Such corners are often used in photograph and art conservation and framing, but they are usually small and discreet and not as generously sized as these. Because the main purpose of this housing is to protect the portraits, I made these corners extra-large to distribute any stress on the photograph edges. Next I hinged window mats to the lower mat boards and lined the inside of the window mats with the same thin foam I used in the panorama housing, again to prevent abrasion of the photograph surfaces. Finally I added a front cover of mat board, and placed all three of the housings together in a flat archival box.

Two undated historic portraits in their new housings:
Fred Thompson (left) and Pearl Temple (right).
John W. Temple Family Papers. Call Number: RH MS-P 1387 (f).
Click image to enlarge.

Detail of paper corners, closed to secure photograph (left) and
open to allow access (right). Pearl Temple portrait, undated.
John W. Temple Family Papers.
Call Number: RH MS-P 1387 (f). Click image to enlarge.

Photograph housing with foam-lined window mat.
Fred Thompson portrait, undated. John W. Temple Family Papers.
Call Number: RH MS-P 1387 (f). Click image to enlarge.

Completed photograph housings in a flat archival storage box.
John W. Temple Family Papers. Call Number: RH MS-P 1387 (f). Click image to enlarge.

When I first began working on the portraits, I noticed evidence of retouching on the images – a common practice. During the photograph identification workshop, I learned that this type of portrait is called a crayon enlargement, and that they were popular in the early twentieth century. In a crayon enlargement, the photographer uses a smaller photograph, often a cabinet card, to make an enlarged print that is usually slightly underexposed, and then adds hand-drawn or painted touches to the enlargement. The result can be subtle, as in our two portraits here, or so heavily augmented as to be difficult to identify as a photograph.

Both of these portraits are probably gelatin silver prints; the neutral tone and silver mirroring on Fred’s photograph point to that process (Pearl’s photograph was probably sepia toned to give it its warm color). In Pearl’s portrait, the embellishments are limited to a few brushstrokes accentuating features of her face and ruffles in her dress. There is also a patterned background that was probably created with an airbrush and stencil. To the naked eye these are the only additions, but under magnification (our workshop fee included a super handy handheld microscope) it’s possible to see pigment droplets throughout the image, indicating more airbrushing.

Detail of hand-drawn embellishments on the portrait of Pearl Temple.
Note the brushstrokes under mouth and nose and along ruffles in clothing.
John W. Temple Family Papers. Call Number: RH MS-P 1387 (f). Click image to enlarge.

The accents made to Fred’s portrait are more extensive. Because the enlargement would have been underexposed, the details in light areas would have been lost, so the photographer has used airbrush and stencil to recreate the washed-out tie and collar, and also to darken the background. As in Pearl’s portrait, pigment drops are visible throughout the image under magnification, even where it doesn’t appear at first look.

Detail of airbrush accents to shirt and tie on portrait of Fred Thompson.
John W. Temple Family Papers. Call Number: RH MS-P 1387 (f). Click image to enlarge.

With the housing complete, these photographs are ready for processing and will soon be added to the finding aid for the collection. It was such a pleasure to work on these wonderful portraits; not only are they lovely objects, but I always love a good housing challenge, and seeing examples of this historical photographic process so soon after learning about it was a happy and instructive coincidence.

Angela Andres
Special Collections Conservator
Conservation Services