Welcome to the Kenneth Spencer Research Library blog! As the special collections and archives library at the University of Kansas, Spencer is home to remarkable and diverse collections of rare and unique items. Explore the blog to learn about the work we do and the materials we collect.
I love ice cream. I’ve very rarely screamed for it, but I may occasionally feel the urge! There are many flavors I like, including matcha and mint chocolate chip, though I feel there is something special about a good vanilla or my absolute favorite…homemade peach ice cream. Ice cream flavors are also a great thing to disagree about. You can have a very satisfying argument about which flavor is best (or at least rank them) knowing that it doesn’t really matter. It is a treat, it is satisfying, it is not particularly healthy, and it has a special quality of nostalgia for me.
Brown’s Taylor Maid Ice Cream Shop in Coffeyville, Kansas, circa 1950-1970. Patterson Family Papers. Call Number: RH MS-P 476, Box 1, Folder 1. Click image to enlarge.
I remember getting together with family on the Fourth of July, playing all day, eating too many hot dogs/burgers/potluck/picnic food of all sorts, then finding the room to try three or four different flavors of homemade ice cream while sitting back and watching the fireworks. The sound of the churns were a persistent whine accompanying the conversation and bangs going on through the day.
No doubt such shared smiles and remembrances led to the naming of July as National Ice Cream Month.
William Joe Woods at Franklin Ice Cream Co. in Tonganoxie, Kansas, circa 1940. Woods Family Papers. Call Number: RH MS-P P660, Box 1, Folder 6. Click image to enlarge.
Ice cream can be found in our collections as well. I mean…not literally. That would be a nightmare for archival control. Instead there are pictures of people working on the apparatus of ice cream making, gathering socially around ice cream, or even making a buck going back quite a while!
Man with a violin and ice cream sign in Anthony, Kansas, circa 1880-1900. Leonard Hollmann Photograph Collection. Call Number: RH PH 536, Box 54, Folder 3. Click image to enlarge.
So when the urge for ice cream strikes, indulge, at least a little.
Sgt. Lynch with his baby, 1898. Just a year later, on October 6, 1899, the Junction City Union reported the death of Sgt. Lynch. He was killed in Cuba during the Spanish-American War. Joseph Judd Pennell Photograph Collection. Call Number: RH PH Pennell, Print 315, Box 10. Click image to enlarge (redirect to Spencer’s digital collections).
D.N. Hicks with his son, Lieutenant Harold Hicks, 1914. Just a year before this photograph was taken, the Junction City Sentinel carried the obituary of Mrs. Hicks, wife and mother. Lieutenant Hicks went on to be promoted to Colonel. Joseph Judd Pennell Photograph Collection. Call Number: RH PH Pennell, Print 2748, Box 59. Click image to enlarge (redirect to Spencer’s digital collections).
John Orr with two of his sons, 1919. The Orrs had three sons: John E. Orr, Jr., Wilbur and Roy. All three enlisted during World War I, and all three were wounded and gassed on the front in France, but survived the war. Joseph Judd Pennell Photograph Collection. Call Number: RH PH Pennell, Print 3074, Box 69. Click image to enlarge (redirect to Spencer’s digital collections).
Lieutenant George S. Patton with his daughter, Beatrice, 1914. Patton was stationed at Fort Riley from 1913 to 1915. He was assigned to the Mounted Service School, and became the school’s first Master of the Sword, teaching a course in swordsmanship while a student. Patton would go on to become a general in command of the U.S. Seventh Army in the Mediterranean theater of World War II and the U.S. Third Army in France and Germany after D-Day. Joseph Judd Pennell Photograph Collection. Call Number: RH PH Pennell, Print 2759, Box 59. Click image to enlarge (redirect to Spencer’s digital collections).
More photographs from the Pennell Collection follow, but unfortunately no other information could be found about the people in them.
The Lopez family, 1920-1921. Joseph Judd Pennell Photograph Collection. Call Number: RH PH Pennell, Print 3177.14, Box 72. Click image to enlarge (redirect to Spencer’s digital collections).
Lieutenant Dorsey with his baby, 1902. Joseph Judd Pennell Photograph Collection. Call Number: RH PH Pennell, Print 918.1, Box 24. Click image to enlarge (redirect to Spencer’s digital collections).
Lieutenant R.L. Cox with his baby, 1920-1921. Joseph Judd Pennell Photograph Collection. Call Number: RH PH Pennell, Print 3257.6, Box 74. Click image to enlarge (redirect to Spencer’s digital collections).
Alex Johnson with members of his family, 1913. Joseph Judd Pennell Photograph Collection. Call Number: RH PH Pennell, Print 2645, Box 56. Click image to enlarge (redirect to Spencer’s digital collections).
Captain Kinnington with his daughters, 1909. Joseph Judd Pennell Photograph Collection. Call Number: RH PH Pennell, Print 2180, Box 47. Click image to enlarge (redirect to Spencer’s digital collections).
Major Baird with his children, 1920-1921. Joseph Judd Pennell Photograph Collection. Call Number: RH PH Pennell, Print 3257.2, Box 74. Click image to enlarge (redirect to Spencer’s digital collections).
In the first installment of this two part blog series, the Kansas artist, Mary Huntoon, was introduced. We shared how her print, Kansas City, Kansas Grain Elevators, was prepared for an overall washing treatment in order to reduce several dark brown stains along the top edge that interrupted the image area and created bulging in the surface.
Before any washing treatments are performed on works on paper, all media are tested with the proposed washing solutions to ensure their stability. The surface is also checked for any areas where the print may have been previously restored, or even re-touched by the artist with another material that might be water-soluble. I carefully examined the print under magnification during testing in order to make sure the ink and paper were safe for washing. Everything checked out, so I was ready to start the washing step.
Kansas City, Kansas Grain Elevators, prior to treatment. Call Number: RH MS 209. Click image to enlarge.
Prior to washing, the print was gently surface-cleaned and the brown paper attachments were removed. You can read more about these steps in the first blog post about this treatment.
Before a work on paper is placed into a bath, the entire object must slowly undergo a humidification step. This helps to relax the paper and the media and prevents aggressive swelling. Then the object is gently sprayed with deionized water using a fine mist attachment in order to fully saturate it. This step-wise procedure ensures a gentle transition for the object into the bath.
The print was washed in successive baths of pH-adjusted deionized water and air-dried. I examined the print once again to assess the progress of the washing step. The stains had noticeably lessened, but they were still quite visible, and I decided to test another stain reduction technique.
Using a small brush, I gently introduced very small applications of a dilute reducing bleach to the stained areas. This reduced the stain to an almost undetectable level. Then the bleach was fully rinsed with additional baths of pH-adjusted deionized water. I used an ultraviolet lamp to check to see that all the bleach, which fluoresces under ultraviolet radiation, was rinsed away.
Kansas City, Kansas Grain Elevators, in normal light, after treatment. Call Number: RH MS 209. Click image to enlarge.
After the stain reduction and overall washing was complete, it was time to address a few structural concerns. Weak creases in the upper corners made the print vulnerable to breakage and tearing, so I reinforced them using Japanese paper applied with wheat starch paste we make in our conservation lab. Instead of cutting the Japanese paper, it is wetted and torn. This torn edge makes use of the long kozo fibers in the paper and creates a strong mend that integrates well into the paper. After all the mends and reinforcements were complete, the print was humidified a second time and flattened between thick felts. Pressing between felts helped to remove planar distortions along the edges, while also maintaining the plate mark of the etching.
Now that the treatment is complete, the print is ready to be returned to the collection where it can be safely examined by visitors to the Kenneth Spencer Research Library.
The Kenneth Spencer Research Library is home to the collection of papers and original artwork by Kansas artist and art therapist, Mary Huntoon (1896 – 1970). As part of a collaborative initiative between KU Libraries and the Spencer Museum of Art, funded by the Andrew W. Mellon Foundation, many of the prints, drawings, and watercolors by Huntoon will be treated.
Creases in the upper corners were reinforced with Japanese paper attached with wheat starch paste. Call Number: RH MS 209. Click image to enlarge.
Kansas City, Kansas Grain Elevators, in raking light, prior to treatment (at left), and after treatment (at right). Call number: RH MS 209. Click image to enlarge.
Richard Blake was a civilian merchant, known as a sutler, at Fort Wallace, Kansas, during the 1860s. At that time Fort Wallace, still located in western Kansas, was a stop on the stage coach line that went through Kansas and on to Colorado. It also served as a military outpost. During his time there, Blake wrote letters to his family describing the area, the men he encountered, and life on the post. Those letters are now among the holdings of the Kansas Collection at Kenneth Spencer Research Library. Among his letters is one written to his mother. In it, he talks of feeling homesick and of his longing for letters from home. In honor of Mothers’ Day, the letter is transcribed here.
Please note that some of the language used by Blake was common during his time, but is considered offensive today.
The Officers’ Quarters at Fort Wallace, Kansas, August 1868. Richard Blake Letters. Call Number: RH MS-P P32.7. Click image to enlarge.
Richard Blake, August 1, 1868. Richard Blake Letters. Call Number: RH MS-P P32.5. Click image to enlarge.
Richard Blake’s letter to mother, July 14, 1867. Richard Blake Letters. Call Number: RH MS P32.1. Click images to enlarge.
Another week has gone by and we have had no Mail. consequently I have not heard from any of you, at home or elsewhere. I begin to want to hear, as it is about a month since I got a letter.
Last evening just at dusk we saw on a hill about a mile north of here – about a dozzen [sic] horsemen which a great many took to be Indians – but we were expecting Genl Custer with his command and supposed the horsemen to be the advance guard, which turned out to be correct – it was Genl Custer with what was left of his command. he camped about a mile west of us, and all day to-day we have had the officers up here and quite a lively time. but now all is quiet once more and I am in hopes for the evening as I want to write several letters and no knowing if I will have another chance before the coach goes down which will be on Thursday if nothing happens. The Stages for the present will run once a week, two coaches at a time, and that is a great deal better than being cut off from all communication. I wonder if you know how a person feels when we have nothing to read and nothing but the same story about Indians – with no news of what is going on in the States. I know I feel auful [sic] lonesome sometimes, and hardly know what to do with myself, and generally either go to sleep, or smoke my pipe or go up to see the officers and play whist till I am over the blues.
Brevet Major Genl Custer is Lieut Col. of the 7th Cavalry, which six months ago numbered (1200) twelve hundred men, and since then they have had three hundred recruits, and to-day the whole Regiment, twelve companies do not number over Seven hundred and they have not lost Fifty men in all by death, but they have deserted by tens twenties and fifties, till over seven hundred have gone and now we have “All that is left of them,” left of the Twelve hundred “Stationed here.” I think as every one else with any sense at all thinks, that Genl Sherman, Genl Hancock, Genl Custer and the balance of them have made a grand fizzle. I don’t believe the whole pack of them have killed a dozzen [sic] Indians all told, and only the other day Genl Sherman sent an officer and Ten men from Fort Sedgewick to the Republican River to order Genl Custer to this post. they sure reached Custer but were found a few days afterward, murdered by the confounded Red devils.
I dont remember having told you in my last letter how I spent the Fourth of July, A.D. 1867, in fact I hardly remember what I did write – as I was half asleep when I wrote it having got up at midnight when the Stage arrived, and had to write then or not at all, so will give you a brief sketch now – well to begin we got up as usual eat our breakfast about the same time and opened the Store, which we kept open till twelve o’clock, then as we felt hungry and not going to have dinner till three we eat a box of Sardines and a few crackers – smacked our lips and took a nap till three when we went to dinner and what a dinner. “Oh ye Gods.” Chicken Pie, made from canned chicken, with sobby [sic] crust, and no taste. Then also Oyster Soup – made out [of] Cove oysters with water, with bread and butter. after dinner I took another nap – till dusk when we adjourned up to the Officers quarters – and spent the evening in telling yarns and singing as a [singest?]. I do not excel so did not join in – but listened, and when they sang “Home Sweet Home” I fell well Home sick my heart jumped clean up in my mouth, after that we retired for the night – the day did not seem at all like the 4th of July, more like Sunday, and I cannot now realize that the season is so far advanced.
This evening we had a call from Theodore R. Davis, Special Correspondent and artist for Harper & Bro – he has quite a long article in Harpers Monthly for July – entitled “A Stage Ride to Colorado” with several cuts. I have not yet read it, so cannot say whether it is good or not.
Well all the Officers of the Post came in a while ago – so I had to stop and now it is eleven O’clock so I will stop for the present, but if I get a chance before the coach goes down – I will add a few lines. Give my love to all and all of you write often to your affectionate son.
Richard Blake
P.S. July 15/67 Genl Custer is going down to Fort Hays after his wife this evening – and has promised to take our mail down – so I will send this by him. Will try and write again when the Stage goes down. Love to all. With love your aff. Son
In this time of pandemic, we are all facing issues of material access and spending inordinate time in the halls of the internet. And if you’ve spent much time in the halls of the internet, then you are well familiar with memes. These pictures taken out of context and often slightly edited or at least with added text deliver small, precise, and often entertaining snippets of thought in an easily digestible, easily shareable format.
I mean, I suppose there are a few considerations. It is important to be aware of copyright concerns when it comes to both making and sharing memes. Is the work transformational? Is the selected image in the public domain? How do I do this meme thing anyway?
This post will deal primarily with finding and using University of Kansas digital collections as a source for memes. As such, I will focus on things that are clearly okay to use. This is going to mean things which clearly state use is possible as well as anything from before 1925. Beyond that, use may be possible but pay close attention to any rights statements and be aware of Fair Use doctrine application. The Kenneth Spencer Research Library addresses much of this in our section “Request Reproductions.”
Many use statements are going to include attribution. One of the easiest ways to do this in a meme format image is that once you have your meme generated, but before you share it, open the file properties. In the file properties you should be able to add author/artist and a note/comment including the attribution statement. Once those have been added to the file, then share!
From the Ground Up: Collection of landscape art with a few other things. Use statement allows use with attribution.
Invertebrate Paleontology: Photographs of invertebrate fossils. Use statement allows use with attribution.
KU Libraries – Digital Collections: Many images prior to 1925, published by a government entity, or otherwise available for use…still important to check the rights information of any image you use!
Once you have selected an image to use in making your meme, you will want to figure out what service you may want to use. There are several free-to-use options out there as well as using software such as Photoshop or Paint. I have used Adobe Spark, KAPWING, and imgflip in making the memes I’ve put on this page. They were all similar in ease-of-use. KAPWING offered a few features that were easy to find but has a more intrusive watermark. Imgflip was straightforward, but maybe not as many features. Adobe Spark required a registration that the others didn’t.
A couple of other articles you may find helpful in your meme-making future: “How to Make a Meme” by Gannon Burgett on Digital Trends and “Copyright for Meme-Makers” by Colleen McCroskey at Public Knowledge.
