Kenneth Spencer Research Library

Captain Dangerous, A Brother to Dragons, Romance of the Seas, and Somebody Else’s Wife: The History of a Heartless Woman! Where can one find such gripping book titles? Why at the Spencer Research Library, of course! Deep within the Spencer’s stacks is a series of shelves filled with a set of 459 volumes with eye-catching bindings of a style of book called the yellowback.

What are yellowbacks? They were a type of book printed from the 1840s through the early 1900s. They were often sold at railway stations. Much like the paperbacks we buy in the airport today, these mass-produced books were purchased by those boarding trains seeking entertainment during their travels. This cheap literature for the masses was produced in an equally cheap manner. Straw boards were covered in a glazed paper—usually, though not always, yellow in color—and the textblock constructed of roughly sewn or stapled, lower-quality paper. Although inexpensive in production, these books were not lacking in decorative creativity. Publishing companies hired artists to create tri-colored wood-block printed covers that correlated to the stories’ subject matter, and boy, are these covers spectacular. The back cover, and front and back endpapers, were often printed with advertisements, including some for the bath product Pears Soap, featuring a somewhat disturbed looking baby as the spokesmodel.

Left: Front Cover, From Jest to Earnest, B1505.
Right: Back cover (featuring disturbed baby), Behind Closed Doors, B1577, Special Collections

The inexpensive production methods of yellowbacks might have proved profitable for publishing companies, but in terms of longevity for the books such poor construction came at a cost. After years of use, it was determined that the majority of the yellowback collection was in need of treatment. Many had loose or detached boards and spines, split hinges, abraded and flaking covers, and detached corners. It also appeared that some of the books had undergone previous conservation treatment involving a nasty hide-glue to reattach boards and spines. Over time, this treatment had proven to be more injurious than helpful. Luckily for the books, the conservation department had just the right summer intern up for the challenge of these little fixer-uppers.

Example of detached board and extra adhesive in hinge area, Tancred, B1346, Special Collections.

After conducting an in-depth survey of the entire collection, thirty-five books were determined to be the most in need of treatment. Once treatment options were discussed with the collection’s curator, work commenced. To remedy the failing hinges, a strip of kozo Japanese tissue was adhered using wheat starch paste and then dried beneath a weight. In more severe cases where the boards and spines were detached, the textblock was cleaned of any previous lining and glue using a methylcellulose poultice. If needed, the textblock was shaped with a backing hammer to create a rounder spine. A new spine lining was adhered using kizukishi Japanese paper and wheat starch paste, cut to allow for two one-inch flanges on either side of the spine. The boards were then attached using the flanges, adhering them to the interior of the cover.

Left: Spine before cleaning, Moths, B1481
Right: Spine after cleaning and lining with kizukishi paper, Moths, B1481, Special Collections.

If the spine was also missing, a modified hollow was created from a rectangular piece of tinted moriki Japanese paper, cut to the length of the book, folded three times in accordance with the book’s spine width, creating a tube-like hollow. This allows for both strength and flex in the book when patrons wish to comb through the pages. The treatments performed were minimally invasive. It was important to keep in mind that the “cure” could not be more than the book could handle, and also that the treatments not be visually distracting. After treatment, a custom-fitted Mylar wrapper was made for each volume for added protection. During my internship, thirty-five books were treated in four weeks.

Left: Example of detached spine.
Right: Same book after spine reattachment. Moths, B1481, Special Collections.

These simple but sturdy fixes extend the life span of these books and allow for easier patron use. I implore you to go visit the Spencer Research Library, not only to view my handiwork, but to admire, and also find humor, in these wonderful books.

Left: Before treatment image featuring previously repaired spine, The Mariner’s Compass: a Novel, B1433.
Right: After treatment, with newly repaired spine, The Mariner’s Compass: a Novel, B1433, Special Collections.

Allison Brewer
2015 Ringle Conservation Intern
Conservation Services

Conservation Services has system-wide responsibilities, but an increasing focus is on Spencer Library materials and collections. There are two main conservation workspaces: a full-fledged conservation lab in Watson Library and workroom in Spencer Library. In this post, we feature the Stannard Conservation Lab.

KU Libraries has had a book bindery/mendery from at least the 1960s, located in the basement of Watson Library. The image below shows the woman on the left sewing a book on a sewing frame, and other staff standing by books batched for case binding.

View of University of Kansas bindery, before 1965, located in the basement of Watson Library.

As part of the drive in American research libraries in the 1980s and 1990s to build conservation laboratories to serve a wider range of collection needs, in 1994 the Libraries organized a Preservation Department and recruited Brian Baird as the first Preservation Librarian. Almost immediately, he began to plan, build, staff, and equip a modern conservation laboratory. These efforts came to fruition in 1997 with three major events: Meg Brown was appointed as the Libraries’ first full-time conservator; a renovation project was completed on the ground floor of Watson Library to create contiguous working space for the Preservation Department; and funds were raised from private donors to equip the facility.

Two views of the Stannard Lab, looking west (left image) and east (right image).

On March 19, 1998, the University of Kansas Libraries dedicated the Jerry and Katherine Stannard Conservation Laboratory and paid tribute to Jerry and Katherine Stannard, the Southwestern Bell Foundation, the Ethel and Raymond F. Rice Foundation, the Charles A. Frueauff Foundation, the Lawrence Walmart Green Team, and Kathryn Davis for their generous gifts that made it possible to equip the Stannard Laboratory. At the dedication, Erica Stannard-Schenk, Jerry and Katherine’s daughter, unveiled a beautiful quilt that is now on permanent display in the entrance of the laboratory.

View of the storeroom outside the Stannard Lab.

In 2011, the department was renamed Conservation Services. A second space in Spencer Library was acquired to take care of simple treatments on site, so as to reduce the transportation of rare materials from one library to another. The department’s focus continues to evolve, but we pay tribute to the events that brought us to where we are today.

Whitney Baker (using some text written by Brian Baird)
Head, Conservation Services

Staff and students from Conservation Services recently led a workshop for the College of Liberal Arts and Sciences Mini College program, in which individuals attend a week of lectures, classes, and events on the KU campus. This year we led a group of 21 eager students in our workshop, “Folded and Sewn.”

Clockwise from upper left: sewn pamphlet, stapled pamphlet, accordion book,
Venetian blind book. Click images to enlarge.

The students in this workshop made four simple structures that were created with folding and sewing–no adhesives required. We started with an accordion book, then made a Venetian blind structure that featured a picture of James Naismith on one side and the windows of Watson Library on the other. Next we moved to folded pamphlets: first a stapled one with text about caring for books, and finished with a sewn version featuring images of historic Jayhawks (courtesy of the University Archives).

Kyle Sederstom, Roberta Woodrick, and Whitney Baker, staff of Conservation Services, took turns leading the class. Step-by-step images were also projected on an overhead screen. In addition, we enlisted three conservation student assistants and our summer conservation intern to roam the room and help participants as needed.

Conservation Services staff and students who led the Mini College workshop.

The Mini College participants finished the structures in record time! We had provided two copies of each structure, so there was time for students to review and make a second book. Other students perused examples of pamphlets and accordion structures provided on a front table.

The workshop featured a leader for each bookbinding structure, as well as projected images of each step.

We had a wonderful time hosting this workshop and hope to offer it again in the future.

Whitney Baker
Head, Conservation Services

When guests come on a tour of the conservation lab, they are sometimes surprised that book pages are usually held together with thread. (Since many modern paperbacks are glued, not sewn, younger guests are often less familiar with sewn bindings.) There are many sewing techniques, useful in different situations.

Traditionally books were sewn on a piece of equipment called a sewing frame. The frame holds the sewing supports taut so the binder can keep her hands free for the actual sewing. Sewing supports are usually either a broad, flat tape (made of cotton, linen, ramie, leather, or vellum), or a cord (usually linen), around which the sewing thread progresses. Cords make raised bands on the final, covered spine, whereas tapes can be flat to the spine.

A sewing frame set up with three sewing supports of linen tape.

In this example, the book is being sewn with what is known as a supported link stitch, in which each row of stitching is linked to the one before. The center of each folded section of paper is pierced with a sewing needle at a sewing station. At the head and tail of the book are two more stations, called kettles. The kettle stitch is a half-knot or chain, and serves to cinch the newest section of paper to the previous ones.

Left: Supported link stitch with curved needle.
Right: The finished sewing. Note the kettle stitches at each end of the book.

Once the book is sewn it is often rounded and backed, to create a rounded shape on the spine and shoulders for book boards to be set into. Rounding and backing is often done with a special bookbinding tool called a backing hammer in a cast iron contraption called a job backer.

Left: The job backer and backing hammer.
Right: Detail of the rounded and backed book in the job backer.

Whitney Baker
Head, Conservation Services

Recently, this book came into the conservation lab with a detaching spine and separated boards. It is volume 2 of a version of The Headless Horseman: A Strange Tale in Texas by Captain Mayne Reid. The gold-stamped cover caught my eye. It features this curious gentleman, minus head, but with boots and spurs.

Left: The Headless Horseman, before treatment. Right: A detail of the cover.
Call number C3400, Special Collections. Click images to enlarge.

To bring the book back to a usable condition, first I removed the previous paper spine lining with a softener called methylcellulose.

Application of methylcellulose to the spine lining to soften it. Click image to enlarge.

A layer of thick Japanese paper, applied with paste, served as a method for consolidating the spine and reattaching the boards, all at once. The Japanese paper extended onto the boards, under the lifted cloth.

Next I applied a lining that included a tube of paper (called a “hollow”), used to keep the fragile original spine pieces from bending inward when the book is opened. Finally, I dyed some red Moriki Japanese paper to match the cover cloth, and applied that over the tube and under the lifted cloth.

Left: Applying the hollow over the Japanese paper lining. Right: Applying dyed paper over the hollow.
Call number C3400, Special Collections. Click images to enlarge.

The final step was to reattach the loose spine pieces. The spine is still fragile, so I added a polyester dustjacket as a final precaution.

The finished conservation treatment (before the dustjacket).
Call number C3400, Special Collections

The Headless Horseman is ready to ride again!

Whitney Baker
Head, Conservation Services