This is the latest installment in a recurring series of posts introducing readers to the staff of Kenneth Spencer Research Library. Today’s profile features Jason W. Dean, who joined Spencer Research Library in June 2025 as a Rare Materials Cataloging Librarian.

Where are you from?

I was born in Lubbock, Texas, and raised in Midland – both in what I call far West Texas. I went to college in Abilene at a small liberal arts university there, where much of my family went to college. I then taught and lived in the Dallas-Fort Worth area for a few years before starting my library career. My work has taken me several places: Arkansas, central Texas, Kansas City, and now Lawrence. I appreciate Lawrence and how it feels like it’s just in The West, which reminds me of the big skies of my youth.

How did you come to work at Spencer Research Library?

I’ve had the good fortune to know Spencer Director Beth Whitaker and Special Collections Curator Elspeth Healey for a while. Maybe I met them at the Rare Books and Manuscripts Section (RBMS) conference in Las Vegas in 2014? I learned about Spencer through Beth and Elspeth, but really got to know Spencer when I visited several years ago on a day trip from the Linda Hall Library. Of course, the outstanding collection and staff were well-known to me. I wanted to return to focus on the material, and the faculty position here was the right fit at the right time with the right people.

What does your job at Spencer entail?

I am responsible (along with my colleagues in processing) for the description of printed items acquired by or added to the Spencer collections. In my time here already, I’ve cataloged a number of modern paperback science fiction books from the collection of William F. Wu, some bound manuscripts, and some new acquisitions. My bread and butter are early modern books that I catalog with Descriptive Cataloging of Rare Materials (Books) – or DCRM(B) – but I am branching out (and dusting off my Resource Description and Access (RDA) cobwebs) with the help of my colleagues.

How did you come to work in libraries/archives/special collections?

I started my post-college working life teaching history to high school students in north Dallas, which I discovered was not for me. I really wanted a career that would allow me to learn and be curious as a part of my work, and librarianship really seemed the best fit. My introduction to rare books began at the Amon Carter Museum of American Art and was cemented at Crystal Bridges, where I worked to catalog Bill Reese’s American color plate book collection. I came to bibliography later in my career, when my former colleague Jamie Cumby taught me the fundamentals of collation.

What part of your job do you like best?

Conceptually I like the professional norms we have around access, privacy, and our broad commitment to, well, sharing. Special collections libraries take things that are expensive and precious and make them accessible and (almost) free.

On the micro level, using bibliographical and other tools to help folks learn more about the physical aspects of the items in Spencer’s collections and either use those descriptions in their own work or decide to come and use the item in person.

I also really enjoy writing. There’s some great stuff in the works for publication, and I am so pleased that I can do that as a normal part of my job.

What do you have on your desk?

There are some things I keep at my desk I feel like are worthy of sharing here. First, this broadside printed at Firefly Press – an adaptation of Beatrice Warde’s famous lines about a printing office.

I also have this retablo of St. Jerome at my desk. A retablo is a two dimensional image of a saint painted by a santero, a maker of this uniquely New Mexican form of folk art. My friend Dr. Charles M. Carrillo made this image of Saint Jerome (a patron saint of librarians and archivists) to watch over me while I work, which he does!

I also keep a book snake on my desk that’s been with me for 15 years. One of my colleagues at the Carter, Maryjane Harbison, made this book snake for me. It’s here with mementos from other workplaces and such: a piece of the Kimbell’s travertine, the box “original staff” at Crystal Bridges were given at opening, and medallions from the Linda Hall Library and Southwestern University.

What is one of the most interesting items you’ve come across in Spencer’s collections?

Below is the title page of the Spencer copy of Newton’s Principia Mathematica, which was a focus of some of my scholarship a few years ago. When I look closely at the book, two things are interesting to me: it has the “two line” imprint statement on the title page, not mentioning a distributor, which is the first state of the title page, and uncancelled.

There’s another item which tells us more about this copy: the diagram on page 112 is printed upside down. Other copies of the book have this corrected with a cancel leaf. We can surmise that the Spencer copy is perhaps an early state of the S issue of the book, especially given the rarity of the uncancelled page 112, as noted by Henry Macomber in his census!

What are some of your favorite pastimes outside of work?

As I mentioned above, I collect art (and books, but isn’t that cliché?) – specifically the santero art I talked about, but also katsinas and photography. Photography is my hobby; my grandfather taught me photography as a teenager and it’s a passion we share with my youngest brother.

My reading interests are varied, but there are three mystery series I adore: Tony and Anne Hillerman’s Chee and Leaphorn novels, the Inspector Montalbano books by Andrea Camilleri, and the Bernie Gunter books by Philip Kerr.

I adore classical music, specifically of Bach and Philip Glass. I also serve on the board of Summerfest, so classical music is one of my favorite things.

I also do some very informal bookish writing with my good friend Rhiannon Knol. We write a bibliography and books focused newsletter called Half Sheets to the Wind.

Jason W. Dean
Rare Materials Cataloging Librarian

This is the latest installment in a series of posts introducing readers to student employees who make important contributions to the work of Spencer Research Library. Today’s profile features Oliver Grotegut, a Cataloging and Archival Processing student assistant and a G. Baley Price Fellow.

Please provide some brief biographical information about yourself.

I am a senior at KU majoring in linguistics with a minor in sociology. I started working at Spencer in March 2024.

What does your job at Spencer entail?

My job is to inventory University Archives materials so that ArchivesSpace, our online collection database, can be updated. We gained quite a lot of material in the years since the last update, so this long-term inventory project ensures that anyone can easily find materials we have available in the University Archives.

Why did you want to work at Spencer Research Library?

I wanted to work at Spencer, or really in archives in general, because I was interested in a job optimizing materials for public use and finding relevant patterns and throughlines in large groups of information. I knew that library or archival work was the ideal field to find such a job. I feel my time at Spencer has provided me with an invaluable amount of knowledge from hands-on learning about archival work, information organization, and document care and preservation that I look forward to bringing with me into a career in archives.

What has been most interesting to you about your work?

There has been a lot I have found enjoyable about my work. It has been especially interesting to sort through decades worth of accepted and denied grant applications and project proposals, and seeing what research was considered novel and worthwhile over the years. By far my favorite record group to inventory so far has been the student housing records. So many of the materials in that group – scrapbooks, incident reports, event planning forms – exemplify what life was like for KU students at any given time.

One I think of the most often is a document from the 1950s where all the residents of Miller Hall explain why they would or would not be alright with having a African American resident move into their scholarship hall the following year. The residents provided in-depth, incredibly honest descriptions about their perspectives on the matter. Rightfully, much of the education and discussion of the civil rights movement focuses on the actions and experiences of African Americans at the time. Seeing the privately held opinions of white Americans at the time, especially those occupying all-white spaces, provides a great deal of further context to the realities of the climate at that moment in history. I also find it interesting sociologically that the matter of potentially having an African American resident in Miller Hall was considered worthy of being discussed and voted on, and the existence of the document says a great deal not just about the opinions of the residents but of the student housing administrators. For those interested, the majority of the opinions were in favor of racial integration, and Miller Hall gained at least one African American resident the following year.

On a lighter note, I also like getting to put new labels on the boxes.

Oliver Grotegut
Cataloging and Archival Processing student assistant
G. Baley Price Fellow

I began working as the Ringle Conservation Intern during the fall of 2024, drawn to the position as an art history graduate student with a budding interest in art conservation and passion for collecting antique photographs. Throughout the course of the semester, and the beginning of the spring 2025 semester, I was able to rehouse 2,400 glass plate negatives and contribute to the online database that will be used towards the creation of a future finding aid. Under the guidance of the incredibly kind and knowledgeable conservation staff, such as Whitney Baker, Charissa Pincock, and Kaitlin McGrath, I was able to take my first steps into the world of conservation and archival work, and will look back at this time fondly.

Throughout my time at the Kenneth Spencer Research Library Conservation Lab, I was privileged with the ability of looking into the past through the eyes of Hannah Scott, the Independence, Kansas based photographer and studio owner who operated from the 1910’s into the 1940’s. Each glass plate negative that I carefully removed from their aged and yellowed envelopes showed me a moment frozen in time; a bride on her wedding day with her bouquet cascading to the floor, a baby with a wide, toothless, grin clutching a doll, or an elderly couple still donning the out-of-fashion garb of decades past. I became an undetected observer from a distant time, one who was able to watch children and families grow over the years as they returned time and time again to Hannah’s studio.

As I made my way through the collection I was repeatedly met with glass plates that possessed faint scratches outlining the contours of a face where wrinkles tend to form, or scribbled dots speckling the skin. I continuously wondered what these etchings might be when I came across a plate that had two negatives of the same woman, but on one she was heavily freckled, and in the other, there was not a spot on her skin to be found. On the emulsion side of the plate, her freckles had been meticulously removed one-by-one with a pointed instrument of sorts to render her skin seemingly airbrushed. I instantly recognized that these “scratches” were an example of the pre-digital age method of “photoshopping” photographs, a technique that Hannah would employ to provide her customers with the option of having a perfect portrait to display.

I had read about the act of manually retouching glass plate negatives in the Victorian era, where the outer edges of a woman’s mid-section were erased to achieve the desired “wasp-waist” look. However, I thought this was an outlying and rare occurrence, but the fact that almost every plate of Hannah’s bears some evidence of retouching shows how common and pervasive this practice was. Furthermore, there was not a specific demographic of Hannah’s client that received this treatment; men and women of all ages, from infants to seniors, were able to take home a photograph of themselves looking their absolute best. Excess stray hairs, deep set wrinkles from decades of emoting, blemishes, freckles, moles, or an accidental hand or prop in the image were all able to be removed by the dedicated photographer’s technique of building up hair-thin lines to erase the undesired.

After doing some research of my own, I discovered that the practice of manually retouching glass plate negatives had been in place since the 1840s, and involved the use of either a graphite pencil or knife to scratch out or cover up whatever it may be that was preventing the desired image. Such retouching appeared almost invisible, both in the glass plate negative and in the final positive. I was able to see evidence of the retouching only when I viewed the emulsion side of the negative from a certain angle where the light could reflect off the scratches. Such a trick-of-the trade exemplifies how not so different we are today from those who lived almost a hundred years ago, and how certain behaviors, such as the editing of photographed portraits, show a formidable continuity over time. I can almost imagine the scene appearing in front of me; Hannah in her studio hunched over a negative, surrounded by various tools and instruments, a soft, rhythmic, scratching noise permeates the air as she works on perfecting her customer’s portrait, the hours ticking by, a radio playing a vintage tune hums in the background, unknowingly creating the plate that would end up in my very hands all these years later.

For further reading on manual retouching of glass plate negatives see https://pastonglass.wordpress.com/2017/11/28/the-art-of-retouching-pre-photoshop/ and https://www.mentalfloss.com/article/83262/how-photo-retouching-worked-photoshop

Alessia Serra
2024-2025 Ringle Conservation Intern
Conservation Services

Ah, the highs and lows of 2024. It’s been a bit of a roller coaster over the past year for the manuscripts processing team here at Spencer with changes in leadership, new digital workflows, and university-wide events like the Watson Library centennial celebrations. Last year we “got out of the basement” and worked more closely with faculty members and staff across campus on larger, multi-year processing projects and adding to existing collections. One of the most fulfilling parts of archival processing work is directly working with history to shape how we see the past long into the future. Entering 2025, the manuscripts processing team has many exciting collections in the works that we cannot wait to share with you all. In the meantime, here are the new finding aids published in 2024!

Kansas Collection

Emanuel Haldeman-Julius letter, January 12, 1921 (RH MS P1006)

World War II era V-Mail form envelopes, circa 1942-1945 (RH MS P1007)

Nate Foster papers, 1977-1981 (RH MS 1601)

Barbara Burghart-Perreault collection, 1886-2020, bulk 1950-2010 (RH MS 1604 + other call numbers)

Quivira Lakes collection, 1981-2003 (RH MS 1605)

Vote for liquor-by-the-drink mug collection, 1986 (RH MS 1607)

Alvamar Estates collection, June 1, 1966-December 21, 1968 (RH MS 1608)

Floyd Schultz history, 1922-2011 (RH MS 1609)

Victoria Shinn collection, 1952-2000 (RH MS 1610 + other call numbers)

O’Sullivan family history, 1955-2018 (RH MS 1611)

Lawrence Free State High School calendars, 1997-1999 (RH MS S89)

Special Collections

Central American textile maps, approximately 1745-1897 (MS S16)

Real Sociedad Económica de Amanetes de la Patria de Guatemala collection, 1830-1883 (MS 110)

Hong Kong return to China newspaper collection, July 1997 (MS Qa51)

Political ephemera from national elections in Costa Rica, Honduras, and Panama, 2001-2010 (MS 384 + other call numbers)

Orsetti family papers, 1180-1874, bulk 1450-1820 (MS 131 + other call numbers)

River City Reunion audiovisual recordings, 1987, 1993, and February 1995 (SC AV 56 + other call numbers)

University Archives

Albert Bloch slides, 1906-1959 (PP 657)

Personal papers of Charles E. Skidmore Jr., 1949-1944 (PP 658)

Personal papers of Angela V. Woodhull, 1984 (PP 659)

Walter J. and Virginia H. Meserve family photographs, 1951-1953 (PP 660)

Personal papers of Arthur Davidson, 1927-1971 (PP 661)

Personal papers of Edward R. Canda, 1968-2023 (PP 662 + other call numbers)

Charissa Pincock
Archives and Manuscripts Coordinator

Today, Friday, November 1, 2024, is the fifth annual Ask a Conservator Day, an initiative of the American Institute for Conservation (AIC), the national professional organization for conservators.

Ask a Conservator Day serves a dual purpose. First, it commemorates the flooding of Florence on November 4, 1966, which damaged cultural heritage sites throughout that city and, in the aftermath of the disaster, sparked a massive recovery effort that is seen as the origin of the modern conservation profession. Ask a Conservator Day also serves as an opportunity for conservators and other preservation professionals to educate the public about the conservation profession.

In that spirit, I will revive our occasional Today in the Lab series to share a snapshot of what I am working on right now. The materials at my workbench always represent an ever-changing mixture of long-term projects and one-off treatments with a shorter turnaround time, and at any given time I will have items from all of Spencer’s collecting areas in my queue. So come along on a tour of my workspace!

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First, on the green book truck next to my bench I have a group of recently catalogued children’s books from Special Collections, mostly from the 19^th century. As my colleagues in cataloging complete their work on the records for these materials, they flag volumes that need repair or housing. Our team of Conservation Services student assistants have already made custom enclosures to protect these vulnerable books, and I have been working through the flagged items in batches to complete any needed repairs.

Next, I have several sets of architectural drawings for Watson Library, which is having its centennial this year. These sets are for the original 1922-1924 construction and a 1940’s addition, a total of 116 individual drawings. These drawings bear signs of being used on the construction site: edge tears and creases from frequent rolling and unrolling, builders’ markings in pencil and other media, and a significant accumulation of surface dirt. One by one I have been surface cleaning the drawings on both sides, flattening the creases, and mending the tears with a specially made repair tissue. Just 6 more drawings to go before these sets will be returned to the University Archives, where they will be available once again to researchers.

Moving on to my cabinet! Right now the upper section of my cabinet mostly holds materials that I have prepared for an upcoming temporary exhibit. I have made cradles or selected other supports from our supply of exhibit materials, and for now these items are simply waiting for the installation date. On the lower shelf, second from the right, is a very long-term treatment that is in progress, an early 20^th century funeral ledger from the Kansas Collection. I have removed duct tape from the spine of the volume and have mended about half of the text block. When mending is completed, I will reinforce the sewing and board attachments so that this fascinating volume will be stable enough for use in the reading room.

Finally, in two of my lower cabinet drawers I have items awaiting treatment that have come to me either from cataloging and processing, or from the reading room. These are typical of the single-item treatments that make up the bulk of my daily work: items needing custom enclosures, volumes with detached spines or boards, rolled material that needs to be flattened, photographs that need to be removed from frames. This steady stream of “patients” is what keeps my day-to-day work from becoming boring or repetitive, as the depth and variety of Spencer Library’s collections means that I always have something new-to-me to work on.

Angela Andres, special collections conservator