Kenneth Spencer Research Library

“The President is Dead” was the oversize headline on the front page of the University Daily Kansan on Friday, November 22, 1963. As the nation and world commemorate the fiftieth anniversary of President John F. Kennedy’s assassination, here is a glimpse at how the KU campus community reacted to news of the event.

Single-page Special Edition of the University Daily Kansan, published on November 23, 1963.
University Archives. Call Number: UA Ser 69/2/1. Click image to enlarge.

 Two speeches given at the convocation for President Kennedy – those by John Stuckey,
Chairman of the All-Student Council, and Chancellor W. Clarke Wescoe – were reprinted in the
Winter 1964 volume of the Jayhawker Magazine Yearbook. University Archives.
Call Number: LD2697 .J3 1964. Click images to enlarge.

Caitlin Donnelly
Head of Public 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

Setting type may not be as easy as it looks, but it is good fun! Throughout October intrepid students in the History of the Book (English 520 / History 500) made several trips to the press room in Spencer’s basement to execute a printing project using the library’s historic presses. Reading about printing during the hand press era offers some insight, but it is easy for the process to remain shrouded in mystery until you try it out yourself. As you stand in front of a case of type, the logistical considerations involved in producing a book–such as format, imposition, line length, and style and size of type–quickly take on a new reality.

Students from The History of the Book  (ENGL 520 / HIST 500) operate the press with
the assistance of printer Tim O’Brien (in the blue apron and striped shirt).

Since Spencer houses wonderful Irish Collections, we elected to print W. B. Yeats’s poem “The Wild Swans at Coole,” which has an appropriately autumnal theme. Each student set two lines of the poem, picking type, letter by letter, from the case and depositing it in a composing stick held in the opposite hand. (If you are right-handed, you would hold the composing stick in your left hand and pick with the right.) The set lines were then transferred to a tray called a “galley” for assembly as a page.  Wooden furniture and metal quoins were used to lock the composed pages into a metal chase, which was then positioned in the press.

As an early proof of the poem quickly revealed, setting type is a skill that requires practice and concentration.  Some speculate that the caution to “mind one’s p’s and q’s” originates in printing, since these two pieces of type are easily confused.  In examining our proof, it seems it was our b’s and d’s that needed minding.  Though excessive errors could lead to docked wages in an eighteenth-century print shop, for us, making (and correcting) mistakes was an instructive part of the process.

“If at first you don’t succeed…”:  proofing and correcting our mistakes.

The project was printed in “folio” format, each printed sheet folded once to create two leaves (or four pages). First, the class printed the “outer forme” (containing the title page and the colophon). Then, after some drying time, we “perfected” the sheets by printing the “inner forme” (containing the poem’s text) on the verso.

Outer Forme: the title page and colophon locked in the chase.  Wooden “furniture” and
metal “quoins” provide the pressure needed to keep everything wedged tightly in place.

In the early days, printing usually involved two pressman–one to insert the paper and work the press, and the second to ink the type. Under the guidance of printer Tim O’Brien, the students each took a turn at both roles.  As the class discovered, there is definitely a genuine satisfaction that comes from operating a hand press.  Of course, the best part is that it produces such wonderfully tangible mementos!

Ta-dah! The finished product. To read the full text of “The Wild Swans at Coole” click the image on the right to enlarge.

Elspeth Healey
Special Collections Librarian

If you still have yet to carve a pumpkin – or you want to have an especially snazzy jack-o’-lantern this year – consider taking a cue from the KU students pictured below. These photos were taken for the University Daily Kansan on or around Halloween in 1968, which was incidentally just over a week before the brand-new Kenneth Spencer Research Library was dedicated on November 8.

University of Kansas students carving a “KU” jack-o’-lantern, 1968.
Call Number: RG 71/0/1968-1969 Prints: Student Activities (Photos).
Click images to enlarge.

For additional information about the history of Halloween, check out this Library of Congress article, “Halloween: The Fantasy and Folklore of All Hallows.”

Caitlin Donnelly
Head of Public Services

On August 17, 1904, Thomas K. Whitthorne applied for an land allotment patent. In this document he was recognized as Chickasaw by intermarriage, and was therefore eligible to obtain 150 acres of land, “more or less, as the case may be,” within the Choctaw and Chickasaw Nations, Indian Territory. The document bears red seals of the Chickasaw and Choctaw Nations.

 Choctaw and Chickasaw Nations, Land Allotment to Thomas K Whitthorne, 1904.
Call number RH MS P 243, Kansas Collection. Click image to enlarge.

Allotment Patent No. 10533 was approved and signed by the secretary and clerk of the United States Department of the Interior on February 26, 1906.  Then on November 29, 1905, the allotment patent was signed and sealed by the Principal Chief of the Choctaw Nation, the Governor of the Chickasaw Nation, approving Thomas K. Whitthorne’s application.

Detail of Choctaw and Chickasaw Nations, Land Allotment to Thomas K Whitthorne, 1904.
Call number RH MS P 243, Kansas Collection. Click image to enlarge.

The Chickasaw Nation is a federally recognized Native American nation, located in Oklahoma. They are one of the members of the Five Civilized Tribes. The Chickasaw Nation was created after the Chickasaw people were forcibly removed by the U.S. federal government to Indian Territory in the 1830s. Their removal was part of a larger effort by the federal government to relocate peoples from the Cherokee, Muscogee (Creek), Seminole, Chickasaw, and Choctaw nations. The removals became known as the “Trail of Tears”.

Meredith Huff
Operations and Stacks Manager, Public Services