Inside Spencer: The KSRL Blog

Repairing Zapalote: a Conservation Treatment for a Lithograph by Mary Huntoon

April 14th, 2021

by Jacinta Johnson, Associate Conservator, Mellon Initiative

Zapalote, also known as The Goose Woman is one of nine known lithographs by Kansas artist Mary Huntoon. Based on Huntoon’s notations, we know that this single edition print was made in 1923 while she attended the Art Students League in New York, NY. Zapalote is a mysterious image depicting the silhouette of a seated woman contrasted by a bright full moon surrounded by dark clouds. Huntoon used broad, arching lines to hint at the woman’s surroundings, which are generally abstract, and allude to a rippling pool at her feet. 

This work is part of a large collection of prints, drawings, and watercolors by Huntoon at the Kenneth Spencer Research Library. Along with the Huntoon collection at the Helen Foresman Spencer Museum of Art, this collective holding at KU is regionally significant, connecting KU to other regional and national collections (e.g., Alice C. Sabatini Gallery in Topeka, Kansas; Mulvane Art Museum at Washburn University in Topeka, Kansas; and the Philadelphia Museum of Art).

The Mary Huntoon lithograph Zapalote, seen before treatment in normal light.
Image 1: The Mary Huntoon lithograph Zapalote, seen before treatment in normal light. Mary Huntoon Papers, RH MS 209:1:60. Click image to enlarge.
The Mary Huntoon lithograph Zapalote, seen before treatment in raking light.
Image 2: The Mary Huntoon lithograph Zapalote, seen before treatment in raking light. Mary Huntoon Papers, RH MS 209:1:60. Click image to enlarge.

I prioritized this print for conservation treatment during a condition survey of Huntoon’s collection of works because the print had sustained significant pest damage (see images 1-2). The entire upper right corner was lost as well as a few other smaller areas across the top edge. Tiny bite marks were visible along the edges and a long strip of the remaining top edge of the sheet was at risk of tearing off during handling.  

Conservators use several techniques for filling paper that is lost. The most common approach is to attach a new piece of paper with a similar thickness, color, and texture that is cut to fit inside the loss like a puzzle piece. The downside to this approach is that the search (and creation) of such a fill is often time-intensive. Even when the edge of the fill is beveled or butt-joined, a small seam is usually visible. The rough and jagged edges created by the hungry pest along this particular loss further complicated the shaping and stabilization process.

I had an opportunity, however, to use a simpler approach that would help stabilize the jagged edges and save time searching for the perfect fill paper: pulp fills. Pulp fills are a great method for filling paper because unlike the method described above, there is a much smoother transition between the original sheet and the fill. In this technique, wet paper pulp is dropped into the area of loss as a slurry, and can be built up to the same thickness as the print. This type of filling method can only be done if the entire print can be washed in advance because the print needs to be wet during this process. Fortunately, my testing confirmed that this print would be safe to wash.  

Next, I consulted my small collection of pre-cast paper pulp, all from high quality papers that had been previously washed. I selected two different colored paper pulps to mix together to make the best possible color match (see image 3). Then the pulp was reconstituted into a slurry with water and mixed thoroughly (see image 4).

Finding a selection of paper pulp that best matched the color of the print.
Image 3: Finding a selection of paper pulp that best matched the color of the print. Mary Huntoon Papers, RH MS 209:1:60. Click image to enlarge.
The paper pulp was turned back into a slurry by adding water.
Image 4: The paper pulp was turned back into a slurry by adding water. Mary Huntoon Papers, RH MS 209:1:60. Click image to enlarge.

After the pulp was ready, I used a pipette to drop small amounts into the area of loss. This was completed on a light table so I could match the thickness of the pulp with the thickness of the paper. I used a vegetable scrubber and curved tweezers to tamp down and shape the pulp into a smooth mat. A sheet of cotton blotter and clear polyester sheeting was also used to control the amount of water in the pulp slurry and anchor and cast the pulp. In about thirty minutes, I had already filled the entire upper right loss (see images 5a-c).

Curved tweezers helped to manipulate the pulp to match the thickness of the print.
Image 5a: Curved tweezers helped to manipulate the pulp to match the thickness of the print. Mary Huntoon Papers, RH MS 209:1:60. Click image to enlarge.
The progression of filling the loss with wet paper pulp.
Image 5b: The progression of filling the loss with wet paper pulp. Mary Huntoon Papers, RH MS 209:1:60. Click image to enlarge.
Cotton blotter was used to absorb excess water and help anchor and cast the pulp.
Image 5c: Cotton blotter was used to absorb excess water and help anchor and cast the pulp. Mary Huntoon Papers, RH MS 209:1:60. Click image to enlarge.

Once all the fills were completed, I dried the print between cotton blotters under moderate weight. After the print was fully dry, I assessed the pulp fill. Since the loss was in an area that would be used to attach it for display and/or handling, I decided to reinforce it with a very thin piece of Japanese paper, called tengucho. This would add extra strength to the area, but not change its visual effect. Finally, the edges of the pulp fill were toned slightly with graphite pencil and colored pencils to match the color of the rest of the sheet. Now that the treatment is finished, the pulp fills help to complete the print and bring the viewer’s eye back to the image area and away from the damage. 

The Mary Huntoon lithograph Zapalote, seen after treatment in normal light.
Image 6: The Mary Huntoon lithograph Zapalote, seen after treatment in normal light. Mary Huntoon Papers, RH MS 209:1:60. Click image to enlarge.
The Mary Huntoon lithograph Zapalote, seen after treatment in raking light.
Image 7: The Mary Huntoon lithograph Zapalote, seen after treatment in raking light. Mary Huntoon Papers, RH MS 209:1:60. Click image to enlarge.

Zapalote will be on view this fall 2021 at the Kenneth Spencer Research Library for the exhibit, Mary Huntoon: Artist and Art Therapist, and will feature several more examples of conservation treatments in this collection. We look forward to seeing you there!

Making the Hand-Colored Lithographic Prints in John Gould’s Bird Books

September 8th, 2020

We are periodically sharing some of the materials that are featured in Spencer Research Library’s North Gallery permanent exhibit. We hope you’ll be able to visit the library and explore the full exhibit in person! This week’s post highlights materials by and information about English ornithologist John Gould.

John Gould, an English ornithologist based in London, published large, lavishly illustrated books about birds of the world from 1830 until his death in 1881. Kenneth Spencer Research Library at the University of Kansas holds 47 large-format volumes published by Gould, as well as nearly 2000 preliminary drawings, watercolors, tracings, lithographic stones, and proof prints from his artistic workshop. Digitized a decade ago, our Gould collection has recently migrated to new Islandora software that makes searching for bird images within the volumes as easy as finding the separate pieces of preliminary art. The digitized Gould collection is accessible at the University of Kansas Libraries website.

Lithographic portrait of John Gould, 1834
John Gould. Lithographic portrait by J. Maguire. Inserted as frontispiece in A Monograph of the Ramphastidae or Family of Toucans (London, 1834). Call Number: Ellis Aves H17, vol. 1. This volume has been digitized and is available online. Click image to enlarge (redirect to Spencer’s digital collections).

The son of a humble gardener, John Gould had spent his boyhood in rural England. His youthful interest in birds and taxidermy would later grow into a career as a publisher of bird books. Hired in 1827 by the recently founded Zoological Society of London, his work maintaining their collection of bird skins enabled him to learn from member ornithologists. Gould and his wife Elizabeth, an amateur artist, ventured into ornithological publishing in 1830 with a book about birds of the Himalaya Mountains.

High-quality digital images downloaded from University of Kansas Libraries website are included here to help explain how the beautiful lithographic prints of birds that illustrate Gould’s books were made. Lithography was a chemical printing process based on the antipathy between grease and water. It involved drawing with greasy ink or crayon on blocks of fine-grained limestone imported from Germany. Invented in Bavaria about 1798 by Aloys Senefelder, lithography soon spread throughout Europe and beyond. By the mid 1800s lithography had replaced copper engraving as the preferred method for quality book illustration, because it was easier and faster (and therefore cheaper) to execute.

An initial rough sketch on paper, often drawn by John Gould himself, began the bird illustration process. The multiple lines and erasures on this sketch of two Asian ground thrushes (Pitta concinna) reflect Gould’s search for the best composition.

Rough pencil and chalk sketch of Pitta concinna by John Gould
Rough pencil and chalk sketch of Pitta concinna by John Gould. Call Number: Gould Drawing 1114. Click image to enlarge (redirect to Spencer’s digital collections).

One of Gould’s artists, in this case William Hart, then developed the sketch into a detailed watercolor painting to be approved by Gould, who insisted on accurate proportions and coloring.

Finished watercolor of Pitta concinna by William Hart
Finished watercolor of Pitta concinna by William Hart. Call Number: Gould Drawing 1167. Click image to enlarge (redirect to Spencer’s digital collections).

Next Hart copied the outlines onto tracing paper and blackened the reverse side with soft lead pencil. By laying the tracing paper on a block of limestone prepared for lithographic printing and re-tracing the outlines, he was able to transfer a non-printing guide image onto the printing surface.

Outline drawing in pencil on tracing paper of Pitta concinna
Outline drawing in pencil on tracing paper of Pitta concinna. Call Number: Gould Drawing 1168.

Following the guide lines, Hart has used a greasy lithographic crayon to draw and shade the bird image on the lithographic stone. The stone had been rubbed with fine sand and water to give it a velvety texture or grain to which the crayon would adhere.

Lithographic crayon drawing on lithographic stone of Pitta coccinea
Lithographic crayon drawing on lithographic stone of Pitta coccinea. Call Number: Gould Drawing 2383.

Close examination with a magnifier would show small irregular dots of crayon adhering to the grained surface of the stone. At normal reading distance, though, the viewer’s eye blends the tiny dots and perceives them as shades of gray.

Enlarged view of grained stone surface
Enlarged view of grained stone surface. Charles Hullmandel, The Art of Drawing on Stone (London, 1824). Call Number: D725. Click image to enlarge.
Enlarged detail of lithographic crayon shading of feathers of Greylag Wild Goose (Anser palasurus)
Enlarged detail of lithographic crayon shading of feathers of Greylag Wild Goose (Anser palasurus). Uncolored proof copy of John Gould, Birds of Europe (London, 1837), Volume 5, Plate 347. Call Number: Ellis Aves H132. This volume has been digitized and is available online. Click image to enlarge (redirect to Spencer’s digital collections).

Turning the drawing on stone into a printing image was a chemical process. First, the crayon drawing was lightly etched with a gum arabic solution, which adhered to the non-image areas and made the bare stone surface there more water receptive. The crayon image was then washed out with turpentine, which formed a thin coating on the image making it receptive to the greasy printing ink.

Next the printer placed the stone on the bed of a lithographic printing press. Before inking, the stone was wetted, so the greasy black ink would adhere only to the crayon image. A blank sheet of paper was then placed on the inked stone and pressed against it by a scraper bar to transfer the black ink onto the paper, forming the printed image.

A printer inking a lithographic stone on a printing press. Elisha Noyce, The Boys Book of Industrial Information (London, 1858), p. 129. Accessed via HathiTrust. Click image to enlarge.

After the ink had dried, the print was hand colored with watercolors, copying a colored master print (called a pattern plate) that had been approved by Gould. Gould’s colorer was Henry Bayfield, who employed the female members of his family to help with adding watercolor washes by hand to uncolored prints. The washes not only tinted the black print but also blended visually with the lithographic shading to convey the shape, color and texture of the feathered bodies of the birds.

Photograph of a watercolor box with brushes and dry cakes of paint
Watercolor box with brushes and dry cakes of paint. Collection of K.S. Cook. Click image to enlarge.
Uncolored lithographic proof print of Pitta concinna pair
Uncolored lithographic proof print of Pitta concinna pair.
Call Number: Gould Drawing 1134. Click image to enlarge (redirect to Spencer’s digital collections).
Detail of a hand-colored lithographic print of Melanopitta sordida. Call Number: Gould Drawing 1265. Click image to enlarge (redirect to Spencer’s digital collections).

Above, in the middle, the print of a pair of ground thrushes (Pitta concinna) illustrates Gould’s book about the Birds of New Guinea. On the facing page is Gould’s scientific description of the bird, set in metal type and printed by the relief letterpress process. After being printed separately, the parts of the book were issued in installments to subscribers, who had them bound as volumes once complete.

Pitta concinna. John Gould, Birds of New Guinea (London, 1875), Volume 4, Plate 31. Call Number: Ellis Aves H129. This volume has been digitized and is available online. Click image to enlarge.

In vogue during the middle decades of the 19th century, such hand-colored lithographic prints of birds were superior in quality to the earlier hand-colored copper-engraved prints they had replaced. Although succeeded in the second half of the 19th century by color-printed chromolithographs, in the early 20th century by four-color process halftone photolithographs, and in the late 20th century by digital images, Gould’s hand-colored lithographic prints are still esteemed as quality bird images.

However, the Gould example is only one of the stories that could be told about lithography’s impact on the production of graphic images during the 19th century. This is because lithography’s versatility as a chemical process meant that it was not just one new technology but rather a cluster of image making technologies that could be used separately or combined in innovative ways. As well as drawing on grained stone with a crayon, early practitioners drew on polished stone with pen and ink, “engraved” (more accurately “scribed”) lines in a thin coating of gum arabic, or drew with lithographic ink on coated transfer paper. After the mid-19th century these were combined with new methods of transferring images to the printing surface and of printing in color (chromolithography) from multiple lithographic stones or (later) from metal plates. A ground-breaking example of chromolithography is Owen Jones’ book, Plans, elevations, sections, and details of the Alhambra (London, 1842-1845. Drawing flat areas of color on lithographic stones, one stone per color, he printed multi-colored illustrations in remarkably exact registration for his book, but this is a single example. The story of all the many technologies associated with chromolithography would fill a book, one which, in fact, has been well told by Michael Twyman in his 728-page book, A History of Chromolithography: Printed Colour for All (London: The British Library and New Castle, Delaware: Oak Knoll Press, 2013).

Karen Severud Cook
Special Collections Librarian

North Gallery Highlight: Sumner High School

August 26th, 2020

We are periodically sharing some of the materials that are featured in Spencer Research Library’s North Gallery permanent exhibit. We hope you’ll be able to visit the library and explore the full exhibit in person! This week’s post highlights materials documenting the history of Sumner High School in Kansas City, Kansas. The Sumner collection is part of the African American Experience Collections within the Kansas Collection.

Photograph of the exterior of the Sumner High School building, 1905–1940
The “old” Sumner High School building at 9th and Washington Boulevard in Kansas City, Kansas, 1905-1940. This image appeared in the 1922 Sumnerian yearbook. Call Number: RH Ser D1286 1922. Click image to enlarge.
Photograph of the exterior of the Sumner High School building, 1940-1978
The “new” Sumner High School building at 8th and Oakland Avenue in Kansas City, Kansas, 1940-1978. Sumner High School Records. Call Number: RH MS-P 1137, Box 1. Click image to enlarge.

Established in 1905 in response to the threat of racial violence and a decades long effort to exclude African Americans from the city’s high school, Sumner High School was created by exempting Kansas City, Kansas, from the state law prohibiting racially segregated high schools. However, the local African American community resisted further efforts to further diminish their children’s opportunities to achieve academic excellence. Their relentless push for the school’s curriculum to emphasize college preparation earned Sumner High School’s membership in the prestigious North Central Association of Secondary Schools by 1914. Under a federally mandated plan for racial integration, Sumner closed in 1978.

Due to the Covid-19 pandemic, the 2020 national convention of the Sumner High School Alumni Association of Kansas City, Kansas, has been postponed until next year. In anticipation of the convention – and in honor of the new school year – here are a few highlights from the Sumner High School Alumni Association of Kansas City, Kansas, Collection, established in 1986. Additional donations of materials are welcomed.

Photograph of Sumner High School faculty, 1919
Sumner High School faculty, 1919. Before the late 1950s, Sumner was the only high school in Kansas comprised of an African American faculty and the only high school in Kansas that permitted African Americans to serve as teachers. Sumner High School Records. Call Number: RH MS-P 1137, Box 2. Click image to enlarge.
Photograph of the Sumner High School orchestra, 1918
The Sumner High School orchestra, 1918. Sumner High School Records. Call Number: RH MS-P 1137, Box 1. Click image to enlarge.
Photograph of a Sumner High School chemistry class, 1930s
A chemistry class at Sumner High School, 1930s. Sumner High School Records. Call Number: RH MS-P 1137, Box 2. Click image to enlarge.

The film clips below show various aspects of Sumner High School. The first features scenes from a football game in 1931. The second clip, from the 1940s, introduces viewers to the new building, the principal, and staff members; it also shows students arriving for school. There’s no need to turn up the volume on your computer or phone; neither clip has any sound.


See Spencer’s online exhibit “Education: The Mightiest Weapon” to learn more about the active role African Americans in Kansas played in our nation’s past struggle with laws and practices of racial segregation in public schools.

Deborah Dandridge
Field Archivist/Curator, African American Experience Collections
Kansas Collection

North Gallery Highlight: University Archives

July 16th, 2020

Kenneth Spencer Research Library’s North Gallery houses a permanent exhibit highlighting materials from the library’s various collecting areas: the Wilcox Collection, the Kansas Collection, Special Collections, and University Archives. While the library is closed to the public, we hope you enjoy the periodic exhibit highlights we’ll be sharing on the blog. Once Spencer reopens, we hope you’ll be able to visit the library and explore the full exhibit in person!

The University Archives portion of the North Gallery exhibit showcases materials related to University Chancellors, faculty, athletics, and student life. In one interactive part of the exhibit, visitors can peruse a timeline of highlights from nearly 150 years of KU’s history.

Below are two videos from the timeline. The first (which has no sound) is a compilation of film clips and photographs showing snippets of student life at KU during the 1940s. The second video contains clips of Robert F. Kennedy’s speech at Allen Fieldhouse on March 18, 1968.


Molly Herring
Associate Archivist, University Archives

Visit “Imagined Worlds: Writers and the Process of Speculative Fiction”

February 12th, 2020

Theodore Sturgeon, Isaac Asimov, Octavia E. Butler, Kurt Vonnegut, Ursula K. Le Guin, Ray Bradbury, Joanna Russ, William F. Wu, John Kessel, Mary Shelley, and KU’s own James E. Gunn and Kij Johnson are just a few of the writers featured in Spencer Research Library’s new exhibit, Imagined Worlds: Writers and the Process of Speculative Fiction.

Imagined Worlds: visible in this central case are a notebook of Kij Johnson’s containing story drafts (left), Theodore Sturgeon’s Royal Quiet De Luxe typewriter (center), and a letter from and a typescript by Octavia E. Butler (right).

While it’s true that all fiction is imagined (at least in part), writers working in the genres of science fiction and fantasy achieve their dramatic interest, pose their philosophic and scientific inquiries, and address social and political issues by playing with and re-configuring the confines of reality. In writing of other worlds, different times, alternate societies, new technologies, and fantastical circumstances, these writers can transfix readers and, in the words of Ursula K. Le Guin, offer a “convincing picture of alternative ways of doing and being, which can shake readers out of fixed mindsets, knock the blinkers off them.”

But how do they do it?

Imagined Worlds offers a peek behind the scenes to explore the messy, impassioned, deliberative, contentious, and inventive processes of speculative fiction (an umbrella term for those genres–including science fiction, fantasy, and horror–that diverge from reality and realism). Materials drawn from Spencer’s collections offer various points of entry into the writer’s experience. There are cases dedicated to:

  • conversations on the page (correspondence between authors)
  • influence and inspiration
  • from idea to book: the process of writing
  • page to screen (adaptation and writing for film and television)
  • the business of speculative fiction

There are also additional cases devoted to awards in speculative fiction and reading recommendations from KU faculty members, addressing SF books that have been significant to them. There are also paintings by two of the best-known science fiction and fantasy artists of the 1950s and 1960s, Ed Emshwiller and Frank Kelly Freas.

Imagined Worlds: a long view down the gallery space.
One of two cases containing faculty discussions of books that have been significant to them. From left to right: Vitaly Chernetsky (Slavic Languages and Literatures) on Stanisław Lem’s The Cyberiad, Anna Neill (English) on Edwin Abbott Abbott’s Flatland, Giselle Anatol (English) on Octavia E. Butler’s Parable of the Sower, and Paul Scott (French, Francophone, and Italian Studies) on Ray Bradbury’s The Martian Chronicles.
Worlds to visit: One of two exhibition cases containing faculty discussions of books that have been significant to them. Left to right: Vitaly Chernetsky (Slavic Languages and Literatures) on Stanisław Lem’s The Cyberiad, Anna Neill (English) on Edwin Abbott’s Flatland, Giselle Anatol (English) on Octavia E. Butler’s Parable of the Sower, and Paul Scott (French, Francophone, and Italian Studies) on Ray Bradbury’s The Martian Chronicles.

The books and manuscripts on display reflect Spencer Research Library’s historic strength in the science fiction of the 1930s-1960s, with the addition of materials from more recent collections of writers’ papers. Since the exhibition focuses primarily on correspondence and manuscripts, a slideshow in the exhibition gallery also shares over 50 covers of speculative fiction volumes from Spencer’s collections.

Cover of paperback edition of Arthur C. Clarke's Childhood's End (New York: Ballantine Books, ©1953). Call #: ASF B294, which features a man an an eye in a cosmos.   Cover of paperback UK edition of Nnedi Okorafor's Lagoon (2014), which features a figure in a wildlife filled ocean under a cityscape

Left: Clarke, Arthur C. Childhood’s End. New York: Ballantine Books, ©1953. Call #: ASF B294; Right: Okorafor, Nnedi. Lagoon. London: Hodder, 2014. Call #: ASF C1260

To give a sense of the exhibit, we share something we had we couldn’t quite fit, a memo from Star Trek creator and producer Gene Roddenberry to writer Theodore Sturgeon about Sturgeon’s script draft for “Shore Leave.” One of the more surreal episodes in Star Trek‘s original TV run (1966-1969), “Shore Leave” sees the thoughts of crew members come to life when they beam down to a planet for some rest and relaxation. Roddenberry’s memo suggests the collaborative process involved in making the episode, and it reveals the mix of frankness, humor, and knowing cynicism he employed in guiding his writers.

Image of the beginning of a Memo from Gene Roddenberry to Theodore Sturgeon regarding the Shore Leave episode of Star Trek
Beginning of a memo from Gene Roddenberry to Theodore Sturgeon regarding Sturgeon’s draft of the first act of the “Shore Leave” episode of Star Trek, June 8, 1966. Theodore Sturgeon Papers. Call #: MS 303, Box 5, folder 10

He balances praising Sturgeon for his successes, with addressing logistical matters—such as the necessity of breaking down the script shot by shot for the sake of the costume, casting, and special effects departments—and then pushes Sturgeon toward what he judges will connect best with viewers. “Wouldn’t your teaser be richer if just one person saw Alice and the rabbit, say McCoy?” Roddenberry asks, “When two people see it, you’ve got a witness. But the poor devil who sees it alone, he’s got trouble.”

Of course, writers like Sturgeon might also push back regarding script changes. During the shooting of “Shore Leave,” Sturgeon would complain about a scene in which the resurrected Dr. McCoy enters with a woman on each arm. This is a “first order vulgarism,” Sturgeon wrote to Roddenberry, arguing that it undercut the emotional development of McCoy’s relationship with the character of Tonia. Roddenberry’s own memo to Sturgeon ends with a serio-comic sign-off that highlights the blend of art and business that television entails: “You’re lovely, inventive, wonderful. Now be commercial.”

Image of the closing line of Gene Roddenberry's memo to Theodore Sturgeon, "You're lovely, inventive, wonderful. Now be commercial."
The closing line of a memo from Gene Roddenberry to Theodore Sturgeon concerning his script for the “Shore Leave” episode of Star Trek, June 8, 1966. Theodore Sturgeon Papers. Call #: MS 303, Box 5, folder 10

Founded in 1969 by a financial gift from a student who thought KU should be collecting science fiction, Spencer Research Library’s SF collections continue to be built largely by donation. Over the decades, they have grown appreciably thanks to the support of James E. Gunn (writer, critic, Professor Emeritus, and founder of KU’s Gunn Center for the Study of Science Fiction). He has not only donated books and periodicals, but has encouraged others to make gifts as well, including fellow writers, whose papers now reside at KU. These efforts have been continued in recent years by writers Chris McKitterick and Kij Johnson (the current Director and Associate Director of the Gunn Center, respectively). We hope to continue to grow our science fiction and fantasy collections to better reflect the diversity of voices writing in the field.

Imagined Worlds: Writers and the Process of Speculative Fiction is free and open to the public and will be on display in Spencer’s Gallery through July 31st, 2020. We invite you to visit and explore the forces at work as writers imagine worlds!

Elspeth Healey
Special Collections Librarian