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.
Check the blog each Friday for a new “That’s Distinctive!” post. I created the series because I genuinely believe there is something in our collections for everyone, whether you’re writing a paper or just want to have a look. “That’s Distinctive!” will provide a more lighthearted glimpse into the diverse and unique materials at Spencer – including items that many people may not realize the library holds. If you have suggested topics for a future item feature or questions about the collections, feel free to leave a comment at the bottom of this page.
This week on That’s Distinctive! we are sharing miniature (tiny) Bibles. We have many tiny books within Special Collections, including the Bibles shown below. The three Bibles range in size from 1 ¼” to 2 ¾” wide. Though the text is quite small, they can be read like regular sized books. However, some other tiny books within the collections are not readable by the naked eye.
So why miniature books? They’re pocket sized! According to the Oxford Companion to the Book, which is available at Spencer Research Library and (for KU users) online, “miniature books, with the exception of micro-miniatures, are normally produced to be read without the aid of magnification, and rarely exceed 3in. in height. The earliest miniature books were MSS [manuscripts] made from papyrus or parchment in the 3rd and 4th centuries AD.” Miniature books have been of high interest throughout time. From Bibles, to Greek and Latin classics, to the works of Shakespeare and Robert Burns, books of all kinds have been converted to miniature formats. There have even been instances of miniature books being produced to supply libraries within doll houses. “Over the last century, miniature books have featured as specialist areas of both fine press printing and fine bookbinding.”
Within Spencer Research Library, Special Collections holds over 250 miniature books. Their call numbers generally include the size designation “t” (for “tiny”) or “tk” (for oblong miniature books). To qualify for a “t” call number in Spencer’s Special Collections, books must be between zero and ten centimeters in size. Some books such as Children 3957 (below) have yet to be cataloged at a designated “t” call number.
The front cover of The Bible in Miniuture [sic], or, A Concise History of the Old and New Testaments, 1780. Call Number: t170. Click image to enlarge.
The front cover of a miniature Bible, 1816. Call Number: Children 3957 [no online catalog record]. Click image to enlarge.
The front cover of Novum Testamentum domini nostri Jesu Christi, vulgatae editionis (i.e. the New Testament of the Bible), 1844. Call Number: t40. Click image to enlarge.
The three miniature Bibles in a horizontal row. Call Numbers, from left to right: t170, t40, and Children 3957. Click image to enlarge.
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 Conservation Services student assistantSarah Jane Dahms, who answered a few questions about the projects she works on at Spencer.
Conservation Services student assistant Sarah Jane Dahms at work on a tuxedo box.
What is your role?
Here at the Spencer, I work in the Conservation Department. We work in a lab setting to stabilize and repair books and materials throughout the KU library system. As a student I work with materials that are in circulation. I do anything from stapling music pamphlets into pamphlet binders, securing dust jackets within archival plastic covers, and housing delicate books and materials in custom boxes to mending and rebinding books. It is a job full of conversation, collaboration, and problem solving. Each item has its own needs and desires, and it is our job to pay attention to the material and work with it, instead of overcorrecting or forcing a repair. No two days in the lab are the same.
What are you studying, and what do you hope to do in your future career? Has your work at KSRL changed how you look at your studies or your future career plans in any way?
I recently graduated this Spring with degrees in both English and Visual Arts. Working in the Conservation Lab gives me a unique space to combine both aspects of my study. Here, I constantly work with books, but I have an opportunity to get to know the materials creatively. Over the course of a few minutes to several hours, I collect clues about the history of the material to create a repair that supports the overall environment of the material. If I do my job well, then my repair should exist within the same world as the original did. Working here has honed my creative hand skills. We work on multistep processes where a millimeter makes all the difference, but we have the chance to create things that are aesthetically pleasing. Because of my experience here, and my time studying for a book arts certificate at KU, I will continue combining English and Art in a Master of Fine Arts this fall. Through the University of Alabama, I will study book arts in their Library and Information Sciences Department. This path was entirely inspired and supported by my time at the Spencer over the last two years. Through repairing and rebinding books, I have completely fallen in love with book structures and creation. I am honored to continue creating books artistically and focusing on their quality and longevity.
What part of your job do you like best?
One of the most important factors of my job is flexibility. Yes, our schedules are largely flexible, but the position itself allows for each student to shape the role. Over the course of the first six months every Conservation Student learns around fifteen multi-step treatments. These treatments range on a scale of technical hand skill and creative potential. Every student who comes through the lab falls in love with one, if not several of these creative processes. We each do all treatments, but many of us specialize in one or two of these areas. Because of this flexibility, students from all areas of campus thrive in the work environment. It allows us all a space to shape our job, and to get to know other students with different backgrounds and skills from our own. Separately from this day-to-day flexibility, we often work on long-term projects as a group. Sometimes the projects last weeks or months, as we move collections around the library. These projects give us time to explore the library and walk amongst hundreds of unique books and materials.
Sarah Jane Dahms Conservation Services student assistant
Check the blog each Friday for a new “That’s Distinctive!” post. I created the series because I genuinely believe there is something in our collections for everyone, whether you’re writing a paper or just want to have a look. “That’s Distinctive!” will provide a more lighthearted glimpse into the diverse and unique materials at Spencer – including items that many people may not realize the library holds. If you have suggested topics for a future item feature or questions about the collections, feel free to leave a comment at the bottom of this page.
This week on That’s Distinctive! we share some photos from the KU Natural History Museum’s collection within University Archives. In the library we house many photographs from the museum from throughout their years as well as some of their records. The photos we share this week show early displays of the museum’s panorama from 1893. From the museum’s website:
“The Panorama is an American cultural treasure, a 360-degree-view exhibit that embodies a historic first in the representation of nature for the public. As part of the official Kansas Pavilion in the 1893 World’s Columbian Exposition in Chicago, it was unique and revolutionary in depicting, for the first time, mounted groups of North American mammals in their natural surroundings. Lewis Lindsay Dyche created this exhibit on the cusp of growing scientific awareness of ecological systems and the need to conserve natural resources for the better good…the exhibit has grown over the years to include more different environs and species. The Panorama represents the university’s early efforts to document and understand the life of the planet — research that continues today through the KU Biodiversity Institute.”
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Views of the panorama created by Lewis Lindsay Dyche, 1893. University Archives Photos. Call Number: RG 33/0 1893: Museum of Natural History (Photos). Click images to enlarge.
More on the history of the panorama and other exhibits can be found on the Natural History Museum’s website. Spencer Research Library also houses material on Lewis Lindsay Dyche, including his personal papers.
What made me choose the museum for this week? Well, I am a science lover by nature being an Anthropology major. But, the museum is also a great community resource. Not only for learning cool things, but for bonding and making memories.
The KU Natural History Museum offers four floors of exhibits for visitors of all kinds. The museum is open from 9am to 5pm, Tuesday-Sunday for the summer, with suggested donations upon entrance. The museum also offers “Museum from Home” options for those who are unable to visit.
Check the blog each Friday for a new “That’s Distinctive!” post. I created the series because I genuinely believe there is something in our collections for everyone, whether you’re writing a paper or just want to have a look. “That’s Distinctive!” will provide a more lighthearted glimpse into the diverse and unique materials at Spencer – including items that many people may not realize the library holds. If you have suggested topics for a future item feature or questions about the collections, feel free to leave a comment at the bottom of this page.
For our science fiction lovers out there, this week we highlight Amazing Stories by Hugo Gernsback. According to Wikipedia, Amazing Stories is an American science fiction magazine that was first published in 1926. The magazine was the first of its kind in being solely devoted to science fiction, which helped launch a new genre of pulp fiction. Gernsback’s contributions to the genre as a publisher were so significant that he is sometimes called “The Father of Science Fiction.” Annual awards presented at the World Science Fiction Convention are named the “Hugos,” in his honor.
Here at Spencer, we have many copies of Amazing Storiesfrom throughout its long publishing history. This week we include just a small sample of early covers from the library’s large collection. The magazines offer a fun array of cover scenes that can be fun to flip through along with the contents of the magazines as well.
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The front covers of Amazing Stories, October 1926 (top) and February 1929 (bottom). You can see on the latter cover that Gernsback referred to the genre as “scientifiction” rather than “science fiction.” Call Number: ASF CURR D3. Click images to enlarge.
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The front covers of Amazing Stories, August (top) and November (bottom) 1958. Call Number: ASF CURR B23. Click images to enlarge.
Becoming the Ringle Conservation Intern has been an incredible learning experience both on its own and as an expansion of the work I have been fortunate enough to do during my two years as a student employee at the Kenneth Spencer Research Library Conservation Lab. Since September of 2022, I have assessed, lightly cleaned, and re-housed over 900 individual glass plate negatives, and at least 100 flexible negatives, taken by the George Cornish Studio (based in Arkansas City, Kansas) between 1890 and 1945. With the guidance of Marcella Huggard, Charissa Pincock, Whitney Baker, and Roberta Woodrick, I have contributed 833 entries to the ongoing finding aid that include the subject of the photo (if identifiable) and the condition of each plate. My hope is that, when the collection is complete with its partner collection (the Hannah Scott Collection), history and photo enthusiasts will be able to enjoy the wide range of portraiture, landscape, and urban life photography contained within the collection.
Creating a spreadsheet with information about the negatives in the Cornish Studio collection.
The Ringle project began with a massive shifting project. Roberta Woodrick, Grace Awbrey, Hannah Johnson, Rory Sweedler, Sarah Jane Dahms, and I moved the Cornish, Scott, and several other glass plate negative collections in advance of the heating, ventilation, and air conditioning (HVAC) updates in the stacks. During this shifting, we saw how both age and the heat from the old furnace, located under the floor where the glass plates had been held, had affected the collections. There were clear indicators that re-housing these collections was necessary. On some glass plates there was flaking emulsion and discoloration, and some flexible negatives were experiencing “vinegar syndrome” (the strong smell of deteriorating acetate film) and leaving liquid residue on the shelves (from the chemical separation of the emulsion on the plastic).
Glass plate negatives from the Cornish Studio collection housed in boxes in the stacks.
Flaking emulsion on one glass plate negative in the Cornish Studio Collection.
The Cornish Studio was located in Arkansas City, Kansas, 8 miles north of Chilocco, Oklahoma, where the Chilocco Indian School operated, and about 200 miles southwest of Lawrence. The studio was opened by George Cornish in 1905 and was run jointly from 1912 onward by Cornish and his assistant Edith Berrouth (to whom he would leave the practice in 1946 after his death.) In 1993, attorney Otis Morrow, whose practice was in the building that had once been Cornish’s studio, donated the 8 boxes of glass plates, photo registrars, and even George Cornish’s autobiography of running the studio (called “My Life on Fifth Avenue”) to the Kenneth Spencer Research Library. (More about the history of the collection can be found at the Collections Overview.)
Many of the glass plates in the Cornish collection have some degree of damage – they’ve existed through a wide range of temperature and humidity fluctuations – but at over 100 years old for many of them, they generally look remarkably good. The subjects in the photos are almost all visible, and the excitement on their faces in these century old photographs endures. It’s clear that the people who went to the Cornish Studio for their portraits, or for the portraits of their young children (babies make up a significant portion of the plates from the 1910s-20s), were happy to have the opportunity to have their photos taken. They couldn’t have known that their likeness would be preserved for longer than them, but I like to think it would make them happy to know their investment in a photograph might provide returns to scholars today.
Negative and reversed positive image of Letha Thomas and baby, circa 1919, Cornish Studio Collection.
Before me, several Ringle interns worked on an impressive collection of projects over timespans of six weeks to three months. So far, I have been working with the Cornish Collection for nine months and will continue to do so for another two. Having almost a full year has been immensely valuable – each plate must be placed individually into a four-fold wrapper before being re-housed in boxes, and many plates between 1917 and 1930 have subjects that could be researched (which I did, especially when there might be the opportunity to identify the women in couples’ portraits who were usually identified as Mrs. (Man’s Name.)). Having now completed the 5 x 7 plates, I continue to work on the 8 x 10 plates which represent a shift from traditional studio portraiture and into street scenes in Ark City and the surrounding area. These images, and this collection, offer a valuable slice-of-life view of Southwest Kansas across a period of American history with rapid changes.
Cornish Studio ledgers that record information about some of the subjects featured on the negatives in the collection.
