Inside Spencer: The KSRL Blog

August-September Exhibit: KU Student Enrollment

August 17th, 2018

As part of my Museum Studies student internship this summer, one of my assignments was to create and design an exhibit to be displayed in the North Gallery at Spencer Research Library from the beginning of August through mid-September. I had to choose a topic concerning KU history, one that I could easily pull materials from the archive to support as a concept. I thought back to the time I spent perusing the yearbooks while working on another research project. One topic that intrigued me, and remained in the back of my head for some time, was that of enrollment. It had never occurred to me to even consider the fact that enrollment had not always been digital and computerized. The process, procedure, the manual entry of data – it was all foreign to me. The immediate question became “how did the university handle the process of enrollment?”

Photograph of the enrollment exhibit being installed

In-progress installation of the exhibit. Click image to enlarge.

I began my research by investigating the enrollment process from as far back as the university records could reach. In order to fully understand the concept I took notes on each version of the enrollment procedure I could find in the primary sources. I created a step-by-step bullet point list for each major era (every ten to twenty years or so). Doing this helped me narrow the focus of the exhibit, focusing mostly on enrollment between the 1950s through the 1980s, with a brief section on the early history of the process.

Searching the archive for images and artifacts was the exciting part for me. I’ve selected some photographs taken by the Lawrence Journal-World, multiple pamphlets distributed to students during orientation, some class guides, and registration instructions, and I will include one of the card boxes from the era of IBM punch cards. Since I had limited space, my labels consist of basic descriptors of each artifact and a few expository labels that explain the enrollment process across the history of the university.

Photograph of the enrollment exhibit

One of the two finished exhibit cases. Click image to enlarge.

My hope and intent for this exhibit is to instill the same fascination for a bygone method that I originally had when I began my research. I want to illustrate the complexities of this older version of a process that all students partake in – while hopefully remaining accurate to the memories of those who did participate in these older systems of enrollment. It’s an important aspect of KU history that I feel deserves its own exhibition.

Mallory Harrell
KU Museum Studies graduate student and University Archives intern

The Art of Nature

July 31st, 2018

Just how heavy is an African elephant? What insects hang out together on milkweed plants? Satisfy your curiosity by visiting Kenneth Spencer Research Library’s summer 2018 exhibition before it closes on August 30.

Image of the T-Shirt Design by D.D. Tyler, "One African Elephant Is as Heavy as…" Milkweed Village T-Shirt design by D. D. Tyler

D.D. Tyler. “One African Elephant Is as Heavy as…” t-shirt and
“Milkweed Village” t-shirt. D. D. Tyler Collection.
Call Number: MS QA 22, Box 4. Click images to enlarge.

The pictorial T-shirts displayed in “The Art of Nature: Natural History Art and Illustrations by D.D. Tyler” answer such questions in the nicest possible way. These beautiful T-shirts selected from nearly 200 designed by natural-history artist D.D. (Diana Dee) Tyler charm the eye while they stimulate the mind. The same is true of her natural-history illustrations for periodicals, guidebooks, and children’s books.

Color drawing by D. D. Tyler of Mother Bear and Cubs for book Bears in the Wild by Ada and Frank Graham, 1981
D.D. Tyler. Mother Bear and Cubs. Color drawing for book
Bears in the Wild by Ada and Frank Graham, 1981.
Addition to the D. D. Tyler Collection received 12/17/2017. Click image to enlarge.

The detailed and scientifically accurate pen-and-ink drawings breathe life into each book author’s written descriptions of animals and their lives. In the exhibition, her impressive original drawings, never meant to be seen, can be compared with the published versions reduced photographically to half-size.

Ink and crayon drawing by D. D. Tyler of a Mother Squirrel Carrying Baby Squirrel for the book We Watch Squirrels by Ada and Frank Graham, 1985

D.D. Tyler. Mother Squirrel Carrying Baby Squirrel. Ink and crayon drawing
for book We Watch Squirrels by Ada and Frank Graham, 1985.
D. D. Tyler Collection. Call Number: MS QA 22, Box 1, Folder 30. Click image to enlarge.

A native Kansan, D.D. Tyler completed a Fine Arts degree at the University of Kansas in 1970. After backpacking around the world, she settled in Maine, where her career as an artist developed in tandem with her interest in the natural world. Now semi-retired, she recently donated her artistic archive representing forty years of work to Kenneth Spencer Research Library, where anyone using our reading room can request and view items from the D.D. Tyler collection, along with the many other books and manuscripts in the library’s collections.  Kenneth Spencer Research Library, located in the central KU Campus on Poplar Lane between Strong Hall and the Campanile, is open Mondays-Fridays 9-5 and (after fall semester classes begin August 20) Saturdays 9-1.

Karen Cook, DD Tyler, and Hank Tyler in front of the main exhibition title for "The Art of Nature," July 12, 2018

The artist, D.D. Tyler (center), and her husband, Hank Tyler (right), at the exhibition
with Karen Cook (left), curator of the exhibition. Click image to enlarge.

Karen Severud Cook
Special Collections Librarian

October Exhibit: The Russian Revolution

October 6th, 2017

Spencer’s renovated North Gallery includes two new cases in which staff members can display materials on a short-term basis. During October, we’re exhibiting items in Spencer’s holdings that relate to the Russian Revolution of 1917. The exhibit is free and open to the public in the Spencer North Gallery during the library’s regular business hours.

The cover of the pamphlet entitled Eugene V. Deb’s Canton Speech, published after 1921

One of the most well-known and popular American socialists
during the early 20th century, Eugene V. Debs was the
Socialist Party’s candidate for U.S. President five times.
As a result of this speech, Debs was arrested and convicted
in federal court under wartime espionage law.
Call Number: Josephson 5687. Click image to enlarge.

“During a revolution, millions and tens of millions of people learn in a single week incomparably more than in a whole year of every-day sluggish life.”

Vladimir Lenin

Marking the 100th anniversary of the Russian Revolution, Spencer Research Library is currently displaying highlights from the Leon Josephson Collection on Modern Socialism. Extensively documenting the international socialist movement during the first half of the 20th century, the Josephson Collection contains over 8000 pamphlets, books, and ephemeral materials.

Examples of materials on display include Lessons of the Revolution and The Land Revolution in Russia by Vladimir Lenin, as well as a copy of the first constitution adopted by the Russian Soviet Federative Socialist Republic (RSFSR) in 1918.

Image of the cover of The Masses, September 1917

As a result of the magazine’s consistent denouncement of
World War I and American involvement, nearly all of the
editors and writers of The Masses were charged with violating
the Espionage Act of 1917. Call Number: D2009. Click image to enlarge.

Image of the cover of The Liberator, March 1918

John Reed later published his eyewitness account of the Bolshevik Revolution
as a book, Ten Days that Shook the World (1919). Reed died in a Moscow hospital
in 1920; he is buried in the graveyard of revolutionary heroes near the
Kremlin Wall. Call Number: RH WL D1614. Click image to enlarge.

“The Russian Revolution is an incomparably mightier even than any previous revolution; larger in scope and deeper in ultimate meaning than the French Revolution.”

Louis C. Fraina, a founding member of the American Communist Party

Socialist publications from America such as The Masses and its successor The Liberator are also on display. These magazines were illustrated with realist and modernist artwork, which they combined with poetry, short stories, and articles discussing and interpreting the Russian Revolution and its influence on the international socialist movement.

Statement from Public Services student Zachary Lassiter

I started KU in the fall of 2015 as a History major, and began working at Kenneth Spencer Research Library in August 2016. I’ve spent most of my time as an undergraduate studying the former Soviet Union, Eastern Bloc, and the Cold War. I had the desire to take part in researching and constructing one of the many exhibits that are showcased at Spencer throughout the year. With the recent renovation of Spencer’s North Gallery, and with the 100th Anniversary of the Russian Revolution, it was a perfect opportunity. Going through countless pamphlets, magazines, and ephemeral materials, I have gained a better understanding of the Russian Revolution from the perspectives of the Bolsheviks and American socialists in their own words as it was happening. I also gained experience in the research and development process of constructing an exhibit, knowledge I hope to utilize in future work. Finally, I want to thank Caitlin Donnelly, Head of Public Services, for helping me through this process and providing me with this opportunity.

Zachary Lassiter
Public Services Student Assistant

‘Dead Coloring’ Revived Again: John Gould’s Hand-Colored Bird Lithographs

September 22nd, 2014

Over the centuries a number of techniques for creating graphic images have outlived their original technology, successfully migrating to new imaging technologies. I was recently reminded of this while planning Kenneth Spencer Research Library’s exhibition, “Ornithological Illustration in the Age of Darwin: The Making of John Gould’s Bird Books” (open September 11-November 15, 2014 on weekdays 9-5 and Saturdays 9-1, except October 11).

John Gould, an English ornithologist, published illustrated books about birds from 1830 until his death in 1881. The Library has recently digitized its holdings of Gould’s 47 large-format volumes, as well as nearly 2000 preliminary drawings, watercolor paintings, tracings, lithographic stones, and proofs.

When searching the new digital John Gould Ornithological Collection (accessible at the University of Kansas Libraries website at http://lib.ku.edu/gould), I happened to compare the published hand-colored print of the Horned Lark or Otocoris alpestris with the black printing image on lithographic stone. “What a great example of dead coloring!” I exclaimed.

Image of Otocoris alpestris / Horned lark

Otocoris alpestris / Horned lark. Lithographic crayon on stone by
John Gould and Henry Constantine Richter.
Reference: ksrl_sc_gould_2387.tif.
Call number: Gould Drawing 2387. Click image to enlarge.

Image of Otocoris alpestris / Horned lark

Otocoris alpestris / Horned lark. Lithograph and watercolor by
John Gould and Henry Constantine Richter.
Reference: ksrl_sc_gould_gb_1_3 (n77).
Birds of Great Britain, 1st edition, volume 3, plate 18.
Call number: Ellis Aves H131. Click image to enlarge.

So what is dead coloring? It involves underpainting shapes in a neutral hue, then finishing the oil painting with transparent colored glazes, and was often used by late-18th-century English painters. Early painters in watercolor, a medium gaining popularity in England during the late 18th century, employed a similar approach.

However, dead coloring also had a place in European printmaking. Mezzotint and aquatint, new methods of intaglio printmaking capable of the tonal gradations necessary for dead coloring, were invented in the mid-17th century and increased in use thereafter. John James Audubon’s hand-colored aquatints of American birds published in the early 19th century were outstanding examples.

During the early 19th century yet another new printing technology, lithography, spread from Germany, where it had been invented in 1798, across Europe to England. Working with a waxy crayon on a block of lithographic limestone with a fine-textured surface was similar to drawing on rough-textured paper. The lithographic crayon caught on the tips of the grained stone surface, creating a random pattern of irregular dots. Viewed with the naked eye, the tiny dots merge into shades of gray.

Lithographic drawing was much easier to learn than mezzotint and aquatint and was the obvious choice for illustrating John Gould’s ornithological books. Elizabeth Gould (his wife), an amateur artist, rapidly mastered crayon lithography under the tutelage of Edward Lear, a younger but more experienced artist employed by Gould. She illustrated Gould’s books until her death in 1841, after which he employed a succession of professional artists.

Image of Melanopitta sordida

Melanopitta sordida. Watercolor and lithographic crayon drawing by
William Hart. Reference: ksrl_sc_gould_1264.tif.
Call number: Gould Drawing 1264. Click image to enlarge.

Image of Melanopitta sordida

Melanopitta sordida. Colored lithographic proof by
William Hart. Reference: ksrl_sc_gould_1265.tif.
Call number: Gould Drawing 1265. Click image to enlarge.

Artist William Hart executed his drawing of Melanopitta sordida in lithographic crayon and watercolor, thus rehearsing his final drawing on lithographic stone for printing and hand coloring. Colored by hand using watercolors, Gould’s lithographic prints are successful examples of dead coloring. By the time of Gould’s death in 1881, color printing was taking over the reproduction of graphic images, bringing the hand-colored lithographic revival of dead coloring to a close.

Karen S. Cook
Special Collections Librarian

Legacy of the White City: Revisiting the World’s Columbian Exposition of 1893

May 16th, 2014

The 1893 Chicago World’s Fair, or the Columbian Exposition, served to showcase the transformation of America’s international presence from the wild frontier to a dominant world power. It also signaled Chicago’s rise to fame from the ashes of its Great Fire of 1871. Among the Fair’s major themes were architecture, women’s representation, diversity, and technology. From May 1 to October 31 of 1893, the World’s Columbian Exposition attracted 27 million visitors—a quarter of America’s population at the time.

More than 120 years after the Columbian Exposition, the Fair’s American legacy can be seen in this exhibit. We invite you to explore this period of rapid change, innovation, culture, and ingenuity.

Image of museum studies graduate students installing the exhibition.  Image of installed case on architecture at the Fair

Image of people at the exhibition opening.

Top: Installing a case Bottom: Conversations at the exhibition opening

This exhibition, which opened on May 8th, 2014, features original literature from the Fair.  Most displayed objects originate from Spencer’s Thomas D. and Sharon Perry Galloway Collection. The exhibit was designed and executed by students Rachel Gibson, Alissa Meehan, Meg Schwend, and Sabrina Shafique as part of a an exhibition planning and design course (MUSE 703).

Image of the four exhibition curators in front of the exhibition sign

Exhibition curators (from left to right): Alissa Meehan, Sabrina Shafique, Rachel Gibson, Meg Schwend.

Meg Schwend
Museum Studies Graduate Student