Kenneth Spencer Research Library

Staff and students from Conservation Services recently led a workshop for the College of Liberal Arts and Sciences Mini College program, in which individuals attend a week of lectures, classes, and events on the KU campus. This year we led a group of 21 eager students in our workshop, “Folded and Sewn.”

Clockwise from upper left: sewn pamphlet, stapled pamphlet, accordion book,
Venetian blind book. Click images to enlarge.

The students in this workshop made four simple structures that were created with folding and sewing–no adhesives required. We started with an accordion book, then made a Venetian blind structure that featured a picture of James Naismith on one side and the windows of Watson Library on the other. Next we moved to folded pamphlets: first a stapled one with text about caring for books, and finished with a sewn version featuring images of historic Jayhawks (courtesy of the University Archives).

Kyle Sederstom, Roberta Woodrick, and Whitney Baker, staff of Conservation Services, took turns leading the class. Step-by-step images were also projected on an overhead screen. In addition, we enlisted three conservation student assistants and our summer conservation intern to roam the room and help participants as needed.

Conservation Services staff and students who led the Mini College workshop.

The Mini College participants finished the structures in record time! We had provided two copies of each structure, so there was time for students to review and make a second book. Other students perused examples of pamphlets and accordion structures provided on a front table.

The workshop featured a leader for each bookbinding structure, as well as projected images of each step.

We had a wonderful time hosting this workshop and hope to offer it again in the future.

Whitney Baker
Head, Conservation Services

The Guild of Book Workers (GBW) is a national organization whose members are bookbinders, book artists, book conservators, calligraphers, and other book enthusiasts. The Midwest Chapter of GBW recently hosted a jurying of design bindings for a traveling exhibition, which opened at Spencer Library on Monday, November 11. Entrants were required to bind a copy of Julia Miller’s Books Will Speak Plain: A Handbook for Identifying and Describing Historical Bindings (Legacy Press, 2010).

What follows is a description of how I bound my copy of Books Will Speak Plain. I gained inspiration for my binding by examining historic bookbindings from Special Collections at Spencer Library. Because Miller’s book covers the history of bookbinding, it seemed logical to create a book that touched on book history in some fashion. In my role as conservator, I am fortunate to have the chance to closely examine books and have long been interested in evidence of past repair. I found various examples in Spencer’s stacks of books that had been repaired by sewing on loose parts, such as a detaching spine or cover board. I decided to use this concept as the driving force in the design of my book.

Detail of sewing repair on Sunderland, La Roy. Pathetism; with practical instructions. New York, 1843. Call number B6443. Click image to enlarge.

The 500-page book arrived in folded sheets of paper. The textblock paper was dense, which ruled out certain styles of bookbinding that could not support the weight of such heavy paper. The book was sewn on three sewing supports made out of the fiber ramie. The book was sewn on a sewing frame, using a link stitch.

Left: Book in sheets. Right: Sewing book on a sewing frame. Click images to enlarge.

I sewed silk endbands in cream and orange. The silk bands were sewn around a core of linen thread. Next the book’s spine was lined to provide some rigidity and set the round spine shape. I first applied a layer of Japanese paper with wheat starch paste, then a layer of Western paper, and finally airplane linen.

Left: Sewing endbands with orange and cream thread. Right: Spine linings of paper and airplane linen. Click images to enlarge.

Next the ramie bands, around which book was sewn, were frayed out and adhered to the book boards.

Boards attached to textblock via frayed-out ramieband sewing supports. Click image to enlarge.

Once the boards were on, it was time to cover the book. I decided to use two contrasting colors of morocco (goatskin) leather, sewed together with coarse thread.

First I cut out templates for the leather pieces. The edges of the leather were pared to a thin edge, especially where the two pieces overlapped in the middle of the book.

Left: Cut leather pieces with templates. Right: Joined leather pieces wrapped around textblock. Click images to enlarge.

The leather was attached with wheat starch paste.  Here you see the headcap tied up with thread in a finishing press to help give the leather a good shape where the boards and spine meet.

Book covered with leather, with headcap tied up with thread. Click image to enlarge.

Once the leather was applied to the book, next came labeling. I used individual brass letter tools, heated on a hotplate. (A stove designed for the purpose is preferable, but I didn’t have one at my disposal.) Each letter is “branded” individually in the leather. When it is left like that, with no gold leaf or foil applied over it, it is called “blind” tooling.

Left: Tools resting on hot plate. Right: Detail of finished book with blind tooling. Click images to enlarge.

This book was accepted into the blind juried show. You can see it and other fine bindings in the Plainly Spoken exhibit at Spencer Library through January 6, 2014. If you are near Lawrence, please come to the Gallery Talk on November 21, from 3-4 PM. The Spencer exhibit features both the design bindings as well as historical examples from Special Collection that complement them.

Whitney Baker
Head, Conservation Services

The tradition of Homecoming, or welcoming back alumni to the University, conjures up images of crisp fall weather, football teams battling on the gridiron, dancing couples, and . . . floats! For many years KU groups have created floats from chicken wire, wood, crepe paper, and other materials to display in the Homecoming parade.

Students construct a Homecoming float in 1969.
Call number: 71/1 /1969/0347. University Archives. Click image to enlarge.

The theme of the floats most typically involves the Homecoming football game–Jayhawk victoriously represented and opponent mascot whimpering in defeat–but not always.

Homecoming floats from 1937 (left) and the 1950s (right).
Respective call numbers: 71/1/1937/005 and 71/1/1950s/0110, University Archives. Click images to enlarge.

Enjoy some pictures from the University Archives of Homecoming floats of the past. For more images see the University’s Archives digital collections.

A snowman float (?!) from 1946 (left) and a cowboy Jayhawk from 1980 (right).
Respective call numbers: 71/1/1946/0076 and 71/1/1980/0518. University Archives. Click images to enlarge.

Whitney Baker
Head, Conservation Services

This week we present you with two labels from the Kenneth Spencer Research Library’s current exhibition: “Quantrill’s Raid on Lawrence: Stories of Loss, Destruction and Survival.”  The exhibit, curated by Sheryl Willliams, Spencer’s Curator of Collections, commemorates the 150th anniversary of the infamous attack on Lawrence and draws on materials from the Kansas Collection‘s holdings to illuminate this significant chapter in Kansas history.

Title wall for the exhibition featuring a photograph of the 50th anniversary of survivors of Quantrill’s Raid.
August 21, 1913. Courtesy of KU Libraries.  Click image to enlarge or travel to KU Libraries Flickr Stream.

Left: Visitors at the opening reception for “Quantrill’s Raid on Lawrence: Stories of Loss, Destruction and Survival”
Right: Curator of Collections Sheryl Williams speaks on Quantrill’s Raid.
Click image to enlarge or travel to KU Libraries Flickr Stream

The exhibition is open to the public in the Spencer Research Library’s gallery through the end of October and available online at http://exhibits.lib.ku.edu/exhibits/show/quantrill.  We encourage readers to explore its moving stories of loss and resilience.

Hell Let Loose

On August 21, 1863 Quantrill and some four hundred men rode into Lawrence, on a dawn raid, catching the citizens by surprise, in spite of earlier rumors of possible attack. At the end of four hours at least 143 men and teen aged boys, most unarmed and unresisting, were known dead, many killed in front of their wives and children. Most of the business district was destroyed by fire, and many homes were plundered and burned. Lawrence was in ruins and its remaining citizens in shock and despair.

According to an account of the raid written shortly afterwards by Rev. Richard Cordley:

No one expected indiscriminate slaughter. When it was known that the town was in their possession, everybody expected that they would rob and burn the town, kill all military men they could find, and a few marked characters. But few expected a wholesale murder. … A gentlemen who was concealed where he could see the whole , said the scene presented was the most perfect realization of the slang phrase, “Hell let loose,” that could ever be imagined.

Destruction of Lawrence, an artist’s sketch from Harper’s Weekly. September 5, 1863. Call Number: RH PH 18:L:8.5. Online Exhibition item link.

The Horror And Sorrow

Excerpted from “William Clarke Quantrill and the Civil War Raid on Lawrence, Kansas, August 21, 1863, an Eyewitness Account,” Rev. Richard Cordley,  edited by Richard B. Sheridan, 1999.

As the scene at their entrance was one of the wildest, the scene after their departure was one of the saddest that ever met mortal gaze.  Massachusetts Street was one bed of embers.  On this street seventy-five buildings, containing at least twice that number of places of business and offices, were destroyed.  The dead lay all along the side-walk, many of them so burned that they could not be recognized, and could scarcely be taken up.  Here and there among the embers could be seen the bones of those who had perished in the buildings and had been consumed.  On two sides of another block lay seventeen bodies.  Almost the first sight that met our gaze, was a father almost frantic, looking for the remains of his son among the embers of his office.  The work of gathering and burying the dead soon began.  From every quarter they were being brought in, until the floor of the Methodist Church, which was taken as a sort of a hospital, was covered with dead and wounded.  In almost every house could be heard the wail of the widow and orphan. The work of burying was sad and wearying.  Coffins could not be procured.  Many carpenters were killed and most of the living had lost their tools.  But they rallied nobly and worked day and night, making pine and walnut boxes, fastening them together with the burnt nails gathered from the ruins of the stores. It sounded rather harsh to the ear of the mourner, to have the lid nailed over the bodies of their loved ones; but it was the best that could be done.  Thus the work went on for three days, til one hundred and twenty-two were deposited in the Cemetery, and many others in their own yard.  Fifty-three were buried in one long grave. Early on the morning after the massacre, our attention was attracted by loud wailings.  We went in the direction of the sound, and among the ashes of a building, sat a woman, holding in her hands the blackened skull of her husband, who was shot and burned at that place.

Left: Reverend Richard Cordley, no date. Call Number: RH PH 18:K:205(f). Online exhibition item link.
Right: William Elsey Connelley’s map showing the route followed in pursuing Quantrill after the Raid, no date. Call Number: RH Map P7. Online exhibition item link.

Sheryl Williams
Curator of Collections and Kansas Collection Librarian

In this week’s post, Museum Studies graduate students Anna Paradis, Bre Wasinger, Karrah Whitlock, and Melody Yu reflect on the experience of curating and mounting the exhibition “River City Rebels: Beat Poetry in Lawrence,” which is currently on display in the Kenneth Spencer Research Library’s exhibition gallery.

On Thursday, May 9th, we celebrated the opening of our new exhibit with a reception. This event marked the completion of the semester-long project in which four museum studies graduate student collaborated with Elspeth Healey, Whitney Baker, and other KU Libraries staff to create an interactive exhibit that compellingly tells the story of Lawrence’s River City Reunion and introduces visitors to some of its more notable characters, including writers Allen Ginsberg, William Burroughs, and Diane Di Prima.

Left: Museum Studies students Anna Paradis, Karrah Whitlock, and Melody Yu install materials in an
exhibition case for the River City Rebels exhibition. Right: Museum Studies student Bre Wasinger
in front of the case she developed on Allen Ginsberg. Click images to enlarge.

Student curator Bre Wasinger remarked she is particularly proud of the “interactives” (or interactive features of the exhibition) – “the listening lounge and poetry wall bring an air of creative sharing and activity to the space that emulates the creative process so central to the Beat community. I hope that people who experience this exhibit find themselves feeling more connected to and curious about Lawrence’s past. Knowing that these rebellious writers were so drawn to Lawrence (a town historically known for its own rebellious attitude) makes me proud to be here, and I hope we can impart this feeling onto others who visit the Kenneth Spencer Research Library.” Fellow students, Anna Paradis, Karrah Whitlock and Melody Yu, learned a lot about the individual poets and the town, as well as the many processes central to planning and executing exhibits through their MUSE 703: Introduction to Exhibits course taught by Bruce Scherting, the Exhibits Director at the Biodiversity Institute.

Left: Exhibition visitor at the Beat-themed magnetic poetry wall.
Right: Visitors at the River City Rebels exhibition opening. Click images to enlarge.

River City Rebels showcases the diverse and interesting holdings at Spencer Research Library for Beat poetry. Karrah Whitlock described the challenges the group experienced when choosing objects for the exhibition, as there were so many unique and visually interesting pieces. Many non-traditional items such as t-shirts, event flyers, handwritten journals, and personal photographs are featured in the collections. It was also important to the student curators to illustrate the strong link of several of the iconic Beat figures to Lawrence. At the exhibit opening several local Lawrencians had personal stories of interactions and experiences with William Burroughs and Allen Ginsberg, as well as memories of the River City Reunion, which took place in Lawrence in 1987.

Left: Exhibition case featuring materials from the 1987 River City Reunion in Lawrence, KS.
Right: Exhibition case featuring William S. Burroughs materials. Click images to enlarge.

This was a true team effort and the student curators are indebted to librarian Elspeth Healey and KU Libraries Conservator Whitney Baker. Both of these staffers worked closely with the exhibit team and assisted in so many ways. The experience has strengthened our knowledge as well as our real-world abilities to create and share an enriching experience – none of which would have been possible without the support of each other and our collaborators.

Graduate student curators (left to right) Karrah Whitlock, Anna Paradis, Bre Wasinger, and Melody Yu
in front of the River City Rebels: Beat Poetry in Lawrence exhibition title wall

It should also be noted that there are two other student-curated exhibits currently taking place through the museum studies program: Continued Dedication, a special exhibit honoring Senator Dole’s service at the Dole Institute, and Occasional Mayhem: Exploring Crime and Punishment in Lawrence at the Watkins Museum (which coincidentally also features William Burroughs).

Anna Paradis, Bre Wasinger, Karrah Whitlock, and Melody Yu,
Museum Studies graduate students in MUSE 703: Introductions to Exhibits (Instructor: Bruce Scherting)