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.
In 1984, the Union Pacific Railroad (UPR) made the decision to abandon its Union Pacific Depot in Lawrence and announced that they would demolish the building due to potential liabilities. The Depot had once been a shining gateway to Lawrence, with a tall steeple and busy railway line, but in the years prior, the passenger service had been discontinued, and the Depot building itself had fallen into disrepair.
Cyanotype photo of the Union Pacific Depot, undated [circa 1889-1930]. Lawrence, Kansas Photographs Collection. Call Number: RH PH 18, Box 1, Folder A6. Click image to enlarge.
Lawrence residents swiftly jumped into action to campaign for the preservation of the building. Citizens from the recently formed Lawrence Preservation Alliance, fresh of the success of their first project to save a historic home at 947 Louisiana St, jumped into action to preserve this Lawrence landmark. Members from the Lawrence Preservation Alliance, University of Kansas Rowing Club, and other concerned citizens banded together to form the “Save the Depot Task Force.” With the original plan to use the Depot as a headquarters for the rowing team, they were able to negotiate with the UPR to stall the demolition and began coordinating and raising funds for potential restoration.
There was one sticking point: the UPR was unwilling to permit the Depot to stay in its current location due to the building’s proximity to the railway line. With no other options, the Save the Depot Task Force began its “Move It or Lose It” campaign. The group hired a contractor to conduct a study to see if it would be possible to move the entire building in either one or two pieces on a hydraulic lift to a nearby lot.
Save the Depot brochure, “Move It or Lose It,” undated [circa 1987]. Call Number: RH P1482. Click image to enlarge.
After years of negotiation and much back and forth, in 1990 the UPR agreed to let the Depot stay where it was, with the provision that the City of Lawrence would provide a protective iron fence protecting the building from the railway tracks. In the end, the UPR sold the Depot to the city for $1.
Renovations began under architect John Lee officially in 1991, with construction happening in three phases & ongoing fundraising assistance from the “Save the Depot” task force. The Union Pacific Depot was officially rededicated as a community center in 1996.
Learn more about the restoration of Lawrence’s Union Pacific Depot at our short-term exhibit in Spencer’s North Gallery! The exhibit is free and open to the public in the North Gallery through March 31, 2026.
I started working on this exhibit as part of an effort to tie Spencer materials in with this year’s KU Reads Common Book, John Green’s Anthropocene Reviewed. When I first started thinking about this exhibit, my idea was to collect things I thought people might be interested in reviewing themselves. I looked at the library’s first-edition copy of I Am Legend by Richard Matheson (Call Number: ASF B643). I looked at a gorgeous bound volume from Special Collections with binding I’d never seen before (Call Number: B10546). I even pulled and contemplated items from the Kansas State Seals collection (Call Number: RH MS Q428), wondering if there was a way I could somehow work a seal into the display.
The process of creating a display is by necessity dialectical. You might pull items with a particular theme in mind, only to discover that another theme might be more appropriate. In some ways, having the exterior guide of Green’s essays helped to eliminate some of that back and forth.
I thought that I knew what I would end up writing about with each of the items by the time I finalized my selection. With the KU Monopoly game, I thought I would write about my childhood experiences (or lack thereof) playing Monopoly. But as I was looking through the box, trying to decide how I would want to have it set up in the display, I discovered a little sticky note describing the item as a gift to the archive.
The inside lid of KU Monopoly with an attached sticky note that reads “Christmas gift from Sandy Mason to the Archives Dec 20, 2004.” Alexandra “Sandy” Mason was Spencer’s first librarian; she worked at KU from 1957 until she retired in 1999. Call Number: RG 0/Artifacts. Click image to enlarge.
“Wild Geese Flying” (Call Number: MS P650) was sent as a Christmas card by poet Barbara Howes, and I initially thought that I would write primarily about the idea of sending a poem as a card. As I sat with the item, however, I became captivated by the poem itself. It’s more about the idea of geese than about an encounter with an individual member of goose-dom. It’s about the transience of migratory birds. It made me think about how so much of what we strive for here is permanence, or something like it, and how almost everything we keep here is vulnerable to time.
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“Wild Geese Flying,” a poem that Barbara Howes sent as a Christmas card in 1966. Correspondence, Poems, and Reviews By and About Barbara Howes. Call Number: MS P650. Click image to enlarge.
Green says in The Anthropocene Reviewed that “there are no disinterested observers, only participants” (p. 5). I initially read this as a commentary on how the act of observing something – what we choose to give our attention to – is inherently an expression of our agency. But I think that it also speaks to the fact that it’s hard to be really, truly disinterested if you pay enough attention. Nothing is ever quite as straightforward as it seems, as this display has so aptly shown me.
The Uncommon Books exhibit will be open in Spencer’s North Gallery through December 1. The display is accompanied by a page on the Lawrence Reviews website. Feel free to stop by and write your own review!
In the course of my work as a conservator at KU Libraries, one of my favorite bookbinding features to spot “in the wild” is paste paper. A book covered in paste paper might come to the lab for treatment, or I might catch sight of one while working in the stacks, and I always take a moment to look at them closely and enjoy the variety of colors, patterns, and styles that paste papers come in. It was no easy task to narrow down Spencer’s abundant selection of paste papers to just a few volumes that will be on view in a temporary exhibit in the North Gallery through August and September.
Paste paper is a style of decorative paper made by coating the surface of paper with a thick pigmented starch adhesive (usually wheat paste or methylcellulose) and then manipulating the wet paste mixture to create patterns. Combs, stamps, brushes, wadded paper or textiles, rollers, fingers and more could be used to create designs. Paste papers were an economical alternative to marbled papers, which required a high degree of skill and costly materials to produce. No special training or supplies were needed to make paste papers; bookbinders could create them right in their workshops with materials already at hand.
Paste papers were most often used for book covers and endpapers and were popular from the late 16th through the 18th century. Paste papers are often seen on books from Germany and Northern Europe, although there are many lovely examples of block-printed paste papers from Italy. There was renewed interest in paste papers during the Arts & Crafts movement of the late 19th and early 20th century. Today, paste papers are still created by book artists and hobbyists, and can be seen on some fine-press editions. The examples on view represent just a fraction of the many beautiful paste papers found in Spencer’s collections and available to view in the Reading Room.
Pulled (or veined) paste papers were created by coating two sheets of paper with the colored paste, pressing the two pasted sides together, and then pulling the sheets apart, creating a unique wave-like pattern on each sheet.
Left: Cover of De Mentha piperitide commentatio botanico medica, 1780. Call Number: C9291. Right: Cover of Rules and orders of the Linnean Society of London,1788. Call Number: Linnaeana C112. Click collage image to enlarge.
Drawn paste papers (also called scraped or combed) were made by “fingerpainting” in the wet paste or dragging various implements through the paste layer. The results can range from painterly and whimsical to clean and graphic. A faux wood graining tool was used to create the pattern on Summerfield E156 (second from left).
Left: Cover of Lectionary, incomplete. [Italy, between 1101-1200]. Call Number: MS E22. Second from left: Cover of De origine et amplitudine ciuitatis Veronae, 1540. Call Number: Summerfield E156. Center: Cover of [Notes on agriculture.] Fletcher of Saltoun collection Scotland, 17–. Call Number: MS 109:4. Second from right: Cover of De ponderibus et mensuris veterum Romanorum…, 1737. Call Number: B3981. Right: Cover of Bookplates and labels by Leo Wyatt, 1988. Call Number: D3245. Click collage image to enlarge.
These are two very different examples of daubed paste papers: a boldly colored design executed in a thick layer of paste, and a subtle pattern possibly created with stiff brush bristles.
Left: Back cover of Deutschlands Beruf in der Gegenwart und Zukunft, 1841. Call Number: Howey D126. Right: Cover of Det enda nödvändiga för et rikes financer, 1792. Howey B1083. Click collage image to enlarge.
This charming stamped (or printed) design appears, appropriately, on the cover of a book about decorative papers used in bookbinding. An assortment of stamps in architectural shapes were pressed into the paste to create the pattern. Spattered (or sprinkled) papers were made by loading a brush with the colored paste mixture and striking the brush while holding it above the paper, creating a shower of drops.
Left: Cover of Decorated book papers, 1942. Call number: C6396. Right: Cover of Considerazioni sulle compagnie, 1769. Call Number: Howey B1116. Click collage image to enlarge.
Block printed paste papers used a matrix, probably carved as for a woodblock print, that was “inked” with the colored paste and stamped onto the paper. These designs can be simple or ornate and often use multiple colors. On Summerfield C1300 (at left) the binder used block printed papers in two different patterns.
Left: Cover of Anticamera di D. Pasquale, 1690. Call Number: Summerfield A866. Center: Cover of De iurisprudentia extemporali, 1628-1629. Call Number: Summerfield C1300. Right: Cover of Göttinger Taschen Calender für das Jahr 1790. Call Number: A274 1790. Click collage image to enlarge.
In these examples the makers have used a combination of techniques on a single sheet: stamped over drawn, drawn over pulled, and so on. D2763 (at right) is also an example of a paste paper created using a colored sheet of paper, instead of white or light paper, as the starting point.
Left: Endpaper of Göttinger Taschen Calender für das Jahr 1782. Call Number: A274 1782. Second from left: Cover of Hortus Celsianus i Uppsala, 1927. Call Number: Linnaeana C456. Second from right: Cover of Poems, 1768. Call Number: O’Hegarty C1129. Right: Cover of Poem to the memory of Lady Miller, 1782. Call Number: D2763. Click collage image to enlarge.
In Conservation Services we sometimes make paste papers to use in our own bookbinding models or in book making activities for colleagues or the public. Making paste papers is a fun and messy activity that invites exploration of colors, patterns, and mark-making tools. There are many online tutorials for making paste papers at home; bookbinder Erin Fletcher has a great video and written instructions on her blog. Tutorial // Paste Papers – Flash of the Hand
Kenneth Spencer Research Library’s current short-term exhibit explores some choice items from the library’s collection of medieval seals. This is a collaborative project put together by myself – Kaya Taylor – and my collaborator Eli Kumin, both of us long-time student workers here at the library.
A view of the exhibit. Click image to enlarge.
Eli and I have cultivated a particular interest in medieval wax seals, spurred on by our work on a Sanders Scholar research project under the supervision of Dr. John McEwan. Beginning in September 2024, we spent the project exploring the Abbey Dore collection (Call Number: MS Q80) at Spencer, given the remarkably well-preserved seals and documents dating back from the 12th and 13th centuries. As the project came to a close in May 2025, Eli and I realized that we could memorialize our work and interests in the form of an exhibit case. Titled Sigillum, it is our way of giving others a look into these fascinating and unique pieces of history, here to be enjoyed roughly 4,000 miles away from where they originated.
The overarching narrative of the Abbey Dore collection is one of property and the interplay between royal and religious power in the medieval period. The language used in the documents points to the exchange of land for the salvation of the donors and their loved ones, e.g. “for her soul and the soul of Madoc [her husband]” (Call Number: MS Q80:13).
Visitors may notice there is one document unlike the others in the exhibit case, labeled “land conveyance of Sir Roger Lasceles to his four daughters” (Call Number: MS C150). Although separate from the Abbey Dore collection, this document is included because it’s a particular favorite of ours and it boasts several unique qualities: a chirograph edge and three intact seals with very clear impressions. We chose to include it at the starting point of the exhibit because of its eye-catching quality, pulling visitors into the discussion of further seals and documents within the case.
A legal agreement, dated 1301-1302, whereby the lands of Sir Roger Lasceles are divided amongst his four daughters. Call Number: MS C150. Click image to enlarge.
Although Eli and I came to know the Abbey Dore collection very well over time, we still felt a bit confused as to the relative geography of the Welsh Marches and the locations mentioned in the collection. We felt that visitors could benefit from seeing a map of the region, and so we resolved to make one that centered the relevant places and landmarks stretching across the Welsh-English border. Ultimately, we used ArcGIS software to put together the map seen in the exhibit.
Our ArcGIS map of the Welsh-English border. Click image to enlarge.
We hope that Sigillum gives visitors a chance to appreciate not just the wax seals themselves, but the real human stories that stand behind them. We are excited to offer this glimpse into the medieval past, and grateful for the opportunity to bring these objects to light at Kenneth Spencer Research Library.
Sigillum: Seals and the Making of Medieval Authority is free and open to the public in Spencer’s North Gallery through July 31st.
Kaya Taylor and Eli Kumin Public Services student assistants KU Libraries Sanders Scholars 2024-2025
This post was written by Tiffany McIntosh, who was Spencer’s Administrative Associate unit until last month. She is now the Outreach Manager at the Watkins Museum of History in downtown Lawrence.
Figuring out the layout of my exhibit cases, with placeholders for labels. Photo courtesy of Tiffany McIntosh. Click image to enlarge.
This exhibit was developed over the last thirteen weeks as part of a final project for my master’s program in museum studies at the University of Oklahoma. To be able to graduate, I had the choice of doing a project, an internship, or a research paper. The choice of doing a project was fairly clear to me from the beginning. With guidance from an onsite supervisor, students were asked to find a museum (or similar institution) to work with to fill a need they had and to create a project that would further the student’s learning. Looking for some fun insights behind the process of curating an exhibit? Look no further!
How did the idea for this exhibit come about?
In order to graduate from my master’s program, I needed to do an independent project that I created in partnership with a cultural heritage institution. Having worked at Spencer, I felt it allowed me the opportunity to develop new skills in an environment I was already comfortable in. The project had to be outside our job scope which is why this was a great opportunity to learn new skills. Originally I was going to do an exhibit on a different topic, but my interest in the diaries in Spencer’s collections led me to the idea of Kansas in the 1800s. Knowing little about this topic, I had no idea what I was getting myself into.
What was the process of creating the exhibit?
Once I came up with the idea and my project was approved, I started planning the direction I wanted to take. I began by digging through the finding aids and pulling collections to look through. I dug through over 115 collections before I found the right items for my exhibit. With the help of my onsite supervisor, Kansas Collection Curator Phil Cunningham, I was able to pin down layouts for my cases. Once my items and layouts were settled on, I scanned everything for my Omeka exhibit and sent them off to the conservation lab for treatment. After that I started the process of writing my exhibit labels. Writing labels was probably the hardest part of this whole process. There’s only so much you can portray in 100-200 words. Once my labels were ironed out, it was all just waiting for installation day. As I waited for installation, I wrote this blog post, created an activity, and worked on my Omeka exhibit.
Installation of the second case in progress. Photo courtesy of Tiffany McIntosh. Click image to enlarge.
What was the most surprising thing you discovered?
I would say I was most surprised by how hard it was to find things about rural life in the 1800s. There were plenty of ledgers, bank books, diaries (sometimes in illegible handwriting), and other things. But, there was a limited number of exhibit-worthy items that would get people thinking and talking. Finding photographs was the hardest. Every time I found one that I liked I would realize it was from the early 1900s. I suppose could have included those photos in the exhibit, but I was determined to stick to my plan.
What is the most interesting thing you learned while working on this exhibit?
I was pretty amazed that collections that have never been looked at together are interconnected. Many items in my case on Lawrence relate to each other but come from different collections. For example, I had previously worked with the J. House business card from the Lawrence business cards collection, so finding the J. House receipt in the Bowersock collection was super cool to me. It was also fun putting things into perspective. The exhibit includes a Steinbergs’ Clothing House business card, and one of the images I found has Steinbergs’ storefront in it. This might not seem cool on the surface level. When looking at the original photo you can’t read the business names. It wasn’t until I scanned and blew up the photo that I realized it showed Steinbergs’. I could go on forever but those were two of my favorite findings.
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The finished exhibit cases! Photos courtesy of Tiffany McIntosh. Click images to enlarge.
What do you hope visitors take away from this exhibit?
I hope viewers walk away with an understanding of how surprisingly different lives can be lived in a relatively close area. The author of the anonymous farmer’s diary talks about going to Kansas City, and imagining what that may have been like compared to life on the farm is just really interesting to me. I also hope people see the parallels of life in the 1800s to now. While there have been many advancements, rural farmers are still secluded from city life in a way while Massachusetts Street in Lawrence is still booming with business.
At the end of the day, this project has been a blast. I never thought I would be creating a physical exhibit as part of my program, one curated entirely by me at that. I have learned so many skills and things about my thought process throughout this semester. Things like the ups and downs of writing labels, or thinking you found the perfect item only to find it is in poor condition, or you can’t read it, or it does not fit the time frame. I hope visitors are able to feel some connection when they walk away from the exhibit.
Tiffany McIntosh Spencer Public Services/Watkins Museum of History
