Kenneth Spencer Research Library

Lescia Carline Valmond served as KU Libraries’ first HBCU Library Alliance Preservation Intern in the summer of 2020. She spent eight weeks taking classes online with her cohort, who were each assigned to U.S. research libraries with conservation departments. She also worked with staff at Spencer Library to craft her own project in Dominica, her home country. In this post, she describes her experiences.

In 2020, I was selected to participate in the Historically Black Colleges and Universities (HBCU) Library Alliance Summer 2020 Internship Program in conjunction with Conservation Services in Kenneth Spencer Research Library at the University of Kansas (KU). The year came with unprecedented challenges that affected this internship. The program was conducted virtually to allow the program to go on. The staff at the Spencer Research Library welcomed my thousand or so questions and further intrigued me with the work that they do.

Meetings were held each week with the directors of the HBCU Library Preservation Alliance as well as conservators and librarians at KU. Every week a new subject area or sub-field ranging from book treatments to environmental monitoring was taught online. (I will admit that I had no idea the amount of work and resources that went into archival practices.) Although I could not be there physically, the staff at Spencer Library were most happy to give me virtual tours and demonstrations of how they used the equipment and where they did their treatments. It is definitely on my bucket list to visit Spencer Library as soon as this pandemic subsides so that I can contribute a hand.

For my personal project, I worked along with Whitney Baker (Head of Conservation Services) and chose to focus on something that is dear to me, the preservation of artifacts and oral histories of the Kalinago people, an indigenous group in the Caribbean. These people are formerly known as the Caribs from which the Caribbean gets its name. However very little is known of them or by them. Personally, with this project I needed to change this dialogue. I too am Kalinago indian and sadly have known very little about my own people, culture, or even our language.

Like many other Amerindian tribes, the Kalinago, as Dominica’s first settlers, were stripped of virtually all knowledge of themselves. Hence, the goal was to create an archival station in the public library where pictures, awards, and books or anything of importance would be stored and made accessible to the people. Whilst we may never know every single detail, learning how far our ancestors came and obtaining as much information as possible is a gift in itself.

In order to retain information, oral history preservation was a focal point in this project. With the assistance of Deborah Dandridge (Field Archivist and Curator of the African American Experience Collections, Kansas Collection) and Letha Johnson (Kansas Collection Curator), an oral history release form and a contract were written for those donating items of interest. From thence, interviews were conducted with many persons who held different roles in society. This ensured diversification in experiences in the Kalinago Reserve rather than only asking the leaders of the community. These recordings were later transcribed for future reference.

Apart from interviews, personal items were contributed to the development of the archival station, as it appeared that almost everyone thought that this project was long overdue. While there existed few conservation practices or materials on the island, whatever resources could be found were utilized. After all, it was the start of a major change. Next, it was important to consider storing the items. I had to take into consideration the humidity of the climate, the placement of the maps (ensuring that they were away from sunlight), as well as controlling the occurrence of pests specific to the tropics. Thankfully this internship afforded me the opportunity to identify much of them and ways in which they can be prevented. To assist with the temporary storage, I employed the use of paper with a neutral pH.

Currently the archival station is housed at the Salybia Primary School, but its intended home is the Salybia Public Library, where the collected materials will be transferred when the library is complete.

To end the summer program, every intern had the opportunity to present their chosen projects to demonstrate what they had learned. Nervous as I was, I was extremely grateful for the knowledge imparted and am even keener on learning more in-depth conservation practices to continue with the archival station in the Kalinago Reserve. The oral history aspect of the project is the most important, given that the essence of all that was captured and will be passed on.

Lescia Carline Valmond
2020 HBCU Library Preservation Alliance Program Summer Intern

This week I had the great pleasure of creating a special housing for a new acquisition, a tripartite Japanese woodblock print titled Joreishiki no zu, by the artist Adachi Ginkō. (This item is not yet fully cataloged. Its placeholder record is here; check back for full details soon.) Printed in 1889, this lovely piece depicts beautifully clothed women and girls writing, reading, and storing books, and belongs to a larger series showing fashionable women engaged in other pastimes such as sewing or arranging flowers.

As is often the case, this project began with a discussion between a curator – in this case, Karen Cook – and I about the anticipated use and storage needs of the item. This print is in three separate parts that may once have been joined, but we didn’t feel a particular need to unite them again at this time. This print is likely to be used in classes, which means two things: first, its enclosure needs to do double duty as both a storage container and a display, and second, its container should be compact, not taking up too much valuable space on the classroom table. I suggested a portfolio with a three-hinged lid, not unlike many tablet and mobile device sleeves, that could fold back to elevate the print for viewing. Karen agreed to this approach, so I set out to build some models and puzzle out the details of the structure.

After sketching a few ideas, I started with a tiny model made from scrap board, mainly to work out how the hinges would function. Next I built a scale model using the same materials I intended to use for the real housing. This proved to be a very valuable exercise; some features didn’t work quite as I’d expected, and I observed a couple of possible drawbacks to this design. I enlisted Collections Conservator Roberta Woodrick, who is something of a housing whiz, to offer her suggestions and we came up with a couple of small but significant modifications. Finally, I reviewed the model and modifications with Karen, and at last was ready to build the enclosure.

The finished enclosure is protective, lightweight, and, I hope, will be user-friendly for Spencer staff and researchers. We make a lot of enclosures for many types of library materials here in the lab, and many of those enclosures we know by heart and can turn out quickly. This project illustrates how we can always be rethinking our practice to better serve the collections and users, and how important collaboration is to conservation work.

Angela M. Andres
Assistant Conservator for Special Collections

One of the most interesting items in our collection, from my point of view, is the full-length portrait of Shirley Tholen, KU’s Jubilee Queen. Spencer Research Library doesn’t actively collect oil paintings, so the fact that we have this painting is unusual in itself. Its size and its history make it even more so. We’ve been spending a lot of time with this portrait lately, and it’s a great example of how collections, experts, and supporters come together in the work of Spencer Library.

The portrait depicts Shirley Tholen, whose naming as Queen was part of the celebration of KU’s 75th anniversary, in 1940-1941. Painted by Raymond Eastwood, a KU professor of drawing and painting from 1922 to 1968, the portrait depicts Ms. Tholen in a dress inspired from the mid-1800s. The jubilee celebrations referenced the early history of the university, with touches like the installation of hitching posts on campus, a song contest, and many reunions.

The Shirley Tholen portrait in the KU Alumni Association office,
as shown in the June 1945 Jayhawker. University Archives.
Call Number: LD 2697 .J3 1945. Click image to enlarge.

For years, the portrait appears to have hung in the office of the KU Alumni Association, as shown in the above photograph from the 1945 Jayhawker yearbook. It eventually made its way to University Archives, where it was stored in the fourth floor stacks of Spencer, surrounded by boxes of university records. Its size made it difficult to find appropriate storage, and it was obvious, even to those of us more accustomed to working with paper and photographs than canvas, that the painting and its supporting structure were in need of repair.

In 2015, Ms. Tholen’s son Tom Jasper and his wife Alexis planned to visit Kansas and inquired about the painting. To make it possible to view it, our Conservation Services staff hung the portrait in our North Gallery and created a temporary label. During their visit, the Jaspers gave us a copy of Ms. Tholen’s memoirs, which we added to our collections. The Jaspers also offered to help financially support the work needed to restore the painting. Conservation Services staff attempted to locate a professional paintings conservator who could work onsite, since the painting is too large to easily ship or move. In late 2016, we welcomed Kenneth Bé of the Gerald R. Ford Conservation Center to Lawrence.

Kenneth Bé working on the portrait. Click images to enlarge.

Mr. Bé began with a thorough examination of the painting, photographing it in its existing frame and the wooden stretcher to which the canvas was attached. He then removed the painting from the frame, and carefully repaired dented areas, removed the painting from the stretcher, and vacuumed and brushed away decades of residue. Mindful of the need to get just the right amount of tautness, he attached the canvas to the new stretcher. He used cotton batting and an enzymatic cleaning solution to clean the surface, and the background and especially the bottom of the dress appeared noticeably brighter after the cleaning. He performed a second cleaning of the background using a soft brush and a scooping motion to lift away any remaining dust and residue. He then treated areas of color loss on the surface, using just a minimal amount of paint that somehow managed to make the scuffs seem to vanish. The process was documented throughout with notes and photographs, in accordance with best practices for conservation treatment. After his departure, we moved the painting to a secure area where it was stored under a Tyvek sheet awaiting framing.

Then came the task of choosing a frame for the painting. On the recommendation of colleagues, we chose a local framer, again hoping to minimize the need for the portrait to travel any more than necessary. The choices at the frame shop were overwhelming, but the experts advised us to balance the width of the frame with the size of the painting and the height at which we intended to hang it. A decision was made, the portrait was packaged carefully, and loaded into a rented truck for the short trip across town. When the framing was complete, the results were impressive.

Assistant Conservator Roberta Woodrick
with the portrait. Click image to enlarge.

The portrait of Shirley Tholen is now hanging again in the North Gallery, awaiting new signage that explains who she was and why we have this painting. She will no doubt draw attention as visitors begin to appear in our recently renovated Gallery, and her story helps to tell the history of the University in a different way than the rest of our new permanent exhibits.

The portrait of Shirley Tholen in the recently-renovated North Gallery.
Click image to enlarge.

This was truly a team effort. Whitney Baker and Roberta Woodrick of Conservation Services, Becky Schulte and Letha Johnson from University Archives, and staff from across KU Libraries researched, planned, and made the work happen. But it would not have happened without the support of the Jaspers as well. Not everyone can be responsible for helping conserve a historic portrait of their mother, but they can assist us to do extraordinary things that would not otherwise be possible with our limited resources.

Please come visit the North Gallery and see Shirley soon.

Beth M. Whittaker
Assistant Dean for Distinctive Collections
Director of Spencer Research Library

November is bringing good news for the storage conditions for many oversized, flat items in the Kansas Collection. After much planning and pondering, the existing wooden “cubby” storage unit has been dismantled to make way for flat file storage drawers often referred to as map cases.

Kansas Collection cubbies, full of collection material

Over time, paintings, other framed materials, and oversized architectural drawings had ended up in the cubbies for lack of a more suitable place to store these challengingly-shaped and often very large items.

Empty Kansas Collection cubbies

Student employees and staff worked to clear collections from the wooden storage unit. Some of the materials will return to the newly installed map cases, while others have moved to an area specifically made for hanging paintings and framed objects. Conservation Services staff then took apart the cubbies using car jacks, pry bars, and a sledge hammer. The original structure of the cubbies relied heavily on a slot-in-tab method of construction which made for a smoother deconstruction than if the unit had been held together primarily with screws or nails.

Partially dismantled cubbies

In a happy bit of up-cycling, a sculpture professor in the Art Department at KU collected the nearly 50-year old ply board to be used by students working in the Fine Arts and Design Schools. Facilities Operations staff leveled the area by installing tile over the bare concrete floor and then installed fifteen five-drawer sets of map cases.

New map cases for flat storage

Over the coming months, oversized and flat material–housed in appropriately-sized folders–will be placed in the new cases. This will not only provide a better storage environment for the items, it will also make the materials easier to page for patron use.

 

Roberta Woodrick
Assistant Conservator
Conservation Services

This summer I was the Stannard Conservation Lab Intern at the University of Kansas. I worked on many projects, but the most challenging one was treating a large collection of architectural plans. University Archives already has many architectural plans of KU campus buildings, so it was a surprise when more original plans were found in the attic of Fraser Hall. The plans had been rolled up, tied with string, and left for years in the attic. They were stacked on top of each other and very dirty, some showing signs of bird droppings and cobwebs. Due to this rough storage environment, some of the plans were severely damaged, although most were in fairly stable condition. The plans were moved from Fraser’s attic to University Archives until a more appropriate and permanent storage situation could be found.

Rolled architectural plans temporarily stored in
University Archives. Click image to enlarge.

It is best for architectural plans to be stored flat, not only for their preservation but also to save space. Since the plans were stored rolled for so long, they needed to be humidified and flattened before they could be stored in horizontal files in the Archives. This required some creative thinking by the KU conservation team because a humidity chamber had to be specially made to accommodate these large plans.

The construction of the humidity chamber was finished when I started my internship, so I was able to start right in on developing the work procedure for humidifying and flattening the plans. I developed a documentation process to keep track of the plans that were treated and instituted an efficient work flow to keep the project rolling.

The specially-built humidity chamber at KU’s Conservation Lab.
Click image to enlarge.

The rolled plans were sorted by what building they depicted and then moved to the work room in their respective groups. Next, the drawings were prepared for humidification: staples were removed and important information about the plans – including title and date – were recorded in a database. The plans were then humidified and flattened. Lastly, the plans were placed in labeled folders and stored in the Archive’s new horizontal storage cases. The work procedure I developed allowed the other interns to continue the flattening and filing process even after my internship ended.

Summer Conservation Intern Erin Kraus removes
water from the humidity chamber with a wet vac.
Click image to enlarge.

New horizontal storage cases in University Archives.
Click image to enlarge.

These historic plans were an important discovery because they can still be useful to architects today when improvements are being made to buildings. The conservation of the plans so far turned out beautifully, so it was very satisfying to see the progress made on the project.

Architectural plans after humidification and flattening.
Click image to enlarge.

The conservation lab at KU was a great place to spend my summer and I learned a lot from this project. Having an internship in Kansas allowed me to not only spend time in my home state, but to also get to know all of the wonderful people at the Stannard Conservation Lab. Thanks for a great summer!

Erin Kraus
2013 Conservation Summer Intern