In 1985, librarian Winnie Lichtenwalter was rummaging around in the basement of the Leavenworth Public Library. She was preparing for the move from the old Carnegie Library to the library’s new building when she discovered several boxes of glass plate negatives. The images depicted the city of Leavenworth, Kansas, at the turn of the twentieth century. Initially no one among the library staff knew anything about the photographs. After conducting some research into the library’s records, they found that Leavenworth resident and amateur photographer Frank C. Morrow was the one who had made them.
Morrow was born in Pickway, Ohio, on May 15, 1867. By 1885, at the age of 18, he was living in Leavenworth, Kansas, where he worked for the Great Western Stove Company. He worked there for fifty years, retiring one year before his death in 1936. His wife, Anne Zipp Morrow, died in 1945. They had one son who was born in 1899 and died in 1923.
Lichtenwalter, knowing that her library could not properly house and care for Morrow’s collection, contacted Nicolette Bromberg, a former photo archivist at Kenneth Spencer Research Library. By their nature, glass plate negatives are very fragile. In addition to the risk of breakage, the delicate chemical emulsion will peel and crack on the glass without proper storage and suitable environmental conditions, and Morrow’s plates were already showing signs of stress. Spencer Research Library houses and cares for several glass plate collections, so acquiring Morrow’s plates was a natural fit. When Bromberg went to the Leavenworth Public Library to pick up the boxes, she searched around the basement a little more and found yet another box of negatives that the staff had missed. In all there are 314 glass negatives.
When new collections, or additions to existing collections, are accessioned into the Spencer Research Library, I arrange and describe the material so that researchers can access them. More often than not, when I begin to look through the unprocessed boxes, I find some interesting surprises.
The Frowe and Lathrop families collection recently received a donation of many additional boxes of correspondence, photographs, diaries, slides, documents, and other material. This collection comprises several generations of the Frowe and Lathrop families from the 1840s to 2016, many of whom lived primarily in Kansas.
One of the interesting items that I found while going through the unprocessed boxes was a red satin Valentine box. When I opened the candy box, underneath cherished cards and invitations, I found an inscription on the bottom written by Eva Lathrop, “Feb[ruary] 14, 1924/ Fred had my diamond ring in this box of chocolates and presented it to me. The ring box was wrapped in the foil off of one of the pieces of candy.” She accepted A. G. (Fred) Phillips’ proposal, and they were married several months later. Spencer Research Library doesn’t always keep objects unless they have a good story to tell, which this candy box does. Kaitlin McGrath, a student in the conservation department working with Collections Conservator Roberta Woodrick, created a special box to house the Valentine box.
One of the most interesting sets of finds in this collection were very early family photographs inside hinged cases, dated from the 1850s-1870s. There are over 20 daguerreotypes, tintypes, and ambrotypes of identified or partially identified men, women, and children related to the Frowe and Lathrop families. Some of the small, ornately-decorated cases appear to be made out of gutta purcha or vulcanite—common plant-based materials used in this time period. Normally, print photographs are put into acid-free folders and a document case. However, these fragile, bulky photographs in their cases needed special consideration for housing and accessibility.
Special Collections Conservator:
Most of the cased photographs that Spencer already holds are
individual items within their collections, so they are housed individually in
custom enclosures. The size of this group makes that approach impractical; it
would be time-consuming to make so many special enclosures from scratch, and
they would take up a lot of shelf space, which is always a consideration when
housing our collections. Housing this group of photographs together also made
sense from an access perspective; a single container is easier for staff to
retrieve and for researchers to view than twenty-some separate containers.
I estimated that I could fit all of the photographs into one standard size flat archival box, provided I could safely arrange them in two layers. Lynn sorted the photographs by family groups into two sets, and then set about devising a lightweight but protective structure for the interior of the box. I created two trays from layers of archival corrugated cardboard, with cavities cut to fit each of the cased photographs. Each cavity is lined with soft Tyvek® fabric to prevent abrasion of the cases, and cases with loose covers are tied with cotton tape to prevent shifting. I attached strips of archival foam around the edges of the lower tray to support the upper tray, and added handles of linen tape to the upper tray for easy removal.
Lynn Ward, Processing
After the cases returned from conservation in their special box, I needed to come up with a way to describe the cased photographs. Normally for a print photograph, the description would be connected to the folder in which the photograph is housed. Since these cased photographs were arranged in layers in their special box, I decided to describe them by layer and by rows within each layer. Each photograph in its case was described with its location in the box, as well as the identification, or partial identification of the individual(s) when known.
The temporary exhibit described in this post will be on display in Spencer’s North Gallery through the end of January.
As a student assistant for the African American
Experience Collections, I recently had an opportunity to produce a temporary
exhibit in Kenneth Spencer Research Library.
After reviewing the 1968-1970 issues of The Black Panther, which was published by the Black Panther Party in Oakland, California, I uncovered an astonishing connection linking African Americans and Asians: In 1969 and 1970, the Minister of Information of the Black Panther Party, Eldridge Cleaver, led delegations of African Americans to visit North Vietnam, North Korea, and China.
Although I would have loved exploring the connections between the Black Panther Party, North Korea, and China, as a Vietnamese-American, I found myself inextricably drawn to the history of Ho Chi Minh and the Democratic Republic of Vietnam. With the topic of my temporary exhibit decided, I scoured Kenneth Spencer’s collections in search of material relating to Ho Chi Minh and the Black Panther Party.
For my first exhibit case, I decided to focus solely upon Ho Chi Minh. (Notably, Ho Chi Minh is one of many pseudonyms he adopted.) I found two Black Panther Party newspapers in the African American Experience Collections but for the rest of my materials, I went digging around in the Wilcox Collection. I was fortunate enough to find a wonderful poster of Ho Chi Minh in the Counter Culture Posters Collection, along with two primary sources written by Ho, including Ho Chi Minh Answers President L.B. Johnson (Call Number: RH WL B3690) and Against U.S. Aggression for National Salvation (Call Number: RH WL B3593).
Around the same time I was creating my temporary exhibit, I was also participating in an independent study relating to eighteenth-, nineteenth-, and twentieth-century Vietnamese history. There I learned that in 1924 Ho Chi Minh had penned two essays titled “Lynching” and “the Ku Klux Klan.” In these essays, Ho Chi Minh wrote about the violence and racism African Americans faced in the United States, demonstrating his awareness of the oppressions endured by peoples outside Vietnam. It is highly probable that Ho read documents published from the NAACP’s anti-lynching campaign, which included information and statistics about African Americans lynched in the United States each year beginning in 1909. However, it is also worth noting that Ho worked aboard a steamship and traveled internationally to the United States, France, England, and other European countries.
Some of the most memorable quotes from his essay on
“After sixty-five years of so-called emancipation, American Negroes still endure atrocious moral and material sufferings, of which the most cruel and horrible is the custom of lynching.”
“From 1899 to 1919, 2,600 Blacks were lynched, including 51 women and girls and ten former Great War soldiers.”
“Among 78 Blacks lynched in 1919, 11 were burned alive, three burned after having been killed, 31 shot, three tortured to death, one cut into pieces, one drowned and 11 put to death by various means.”
“Georgia heads the list with 22 victims. Mississippi follows with 12. Both have also three lynched soldiers to their credit.”
Upon Ho Chi Minh’s death, The Black Panther’s newspaper issue printed on September 13, 1969, included these two essays, along with an essay commemorating Ho’s death. However, Ho wrote these essays almost four decades before the Black Panther Party newspaper issues were printed in 1968-1970, during the height of the Vietnam War (1955-1975).
In addition, I also wanted to showcase the Black Panther Party’s anti-Vietnam propaganda and demonstrations. Once again, I found myself digging around in the Wilcox Collection. Among the items I chose for the second exhibit case include A Taste of Power: A Black Woman’s Story by Elaine Brown (Call Number: RH WL C2210). Brown acted as the Black Panther’s Southern California Chapter’s Deputy Minister of Information. Brown also accompanied Eldridge Cleaver on his visits to North Vietnam, North Korea, and China.
One of my favorite items in the exhibit is Vietnam: An Anti-War Comic Book by Julian Bond, a founder of the Atlanta sit-in movement and of the Student Nonviolent Coordinating Committee (SNCC). The comic book is a piece of anti-war propaganda that highlights the connections between the struggles of African Americans and the Vietnamese people during the 1970s.
A huge thank you to Caitlin Donnelly Klepper, Angela Andres, and Letha Johnson for helping me at various stages of my exhibit, as well as to my supervisor, Deborah Dandridge, for supporting my interest in exploring a fascinating side of history that was unknown to me at the time that Kenneth Spencer Research Library provides in its variety of collections of resources. Another thank you to the staff and students at the Reading Room reference desk, who helped me with my requests.
Sophia Southard African American Experience Collections Student Assistant
The Kenneth Spencer Research Library is home to the collection of papers and original artwork by Kansas artist and art therapist, Mary Huntoon (1896-1970). As part of a collaborative initiative between KU Libraries and the Spencer Museum of Art, funded by the Andrew W. Mellon Foundation, many of the prints, drawings, and watercolors by Huntoon are being treated over the next two years.
Huntoon was born in Topeka, Kansas. After graduating from Washburn University in 1920, she studied at the Art Students League in New York City for six years under Joseph Pennell and Robert Henri, and was a good friend and colleague of William Stanley Hayter, founder of Atelier 17. She later became director of the Kansas Federal Art Project and made significant contributions to the early development of art therapy.
Kansas City, Kansas Grain Elevators, is an artist’s proof print (a print made prior to the final edition), an etching in black printing ink on cream, laid, machine-made paper. The primary condition issue involves two large brown stains along the top edge that interrupt the image area and cause distortions in the sheet. An overall washing treatment was proposed in order to reduce the appearance of the stains.
In preparation for the treatment, the printing inks were tested to ensure they would be stable during the wet treatment. The outer margins and back of the print were selectively surface-cleaned with a soft sponge, avoiding all printed areas, as well as the graphite pencil inscription. Surface-cleaning ensures that loose and embedded dirt and grime are not driven deeper into the paper support during the wet treatment.
Brown paper tape attachments on the top edge of the front and back of the print were removed with a methylcellulose poultice. The attachments had been partially removed at some point, and the top layer of the paper was slightly skinned. The poultice delivers moisture in a controlled way, softening the adhesive, and allowing safe removal of the attachment.
The print is
now ready to be washed. Stay tuned for Part 2 to learn how the stains were
Jacinta Johnson Associate Conservator, Mellon Initiative
The Berlin Wall stood in the center of Berlin, Germany, from 1961 to 1989. It acted as a physical symbol of the divide between East and West, not just in Germany, but between Western European democracy and Eastern European communism after the end of World War II. It was a literal “Iron Curtain,” in Winston Churchill’s words, and its fall in the late 1980s coincided with the end of the Soviet Union and Eastern European communism.
Materials related to the Berlin Wall at Spencer Research Library focus on its meaning soon after it was built in the early 1960s and its obliteration in the late 1980s and early 1990s. To commemorate the fall of the Berlin Wall thirty years ago this month (November 9, 1989), we thought we would share some of the more interesting pieces we have at Spencer Research Library related to this topic.
Holland Roberts, then director of the American Russian institute in San Francisco, wrote about the wall soon after it was built, in 1962. He argued that it was to protect East Berlin and East Germans from the militarism rising in West Germany, led by former Nazi officers. “The Wall will come down when the two Germanys disarm and form the core of a neutral peaceful zone in the heart of Europe,” Roberts wrote.
American journalists Margrit and John Pittman also wrote about the Berlin Wall soon after its construction. They too focused on West German propaganda against East Germany, as well as German perceptions of Americans visiting or stationed in their divided country.
The items in Spencer’s collections from when the Berlin Wall came down in 1989 seem more hopeful than these earlier written works. For example, Bob Swan’s Citizen Diplomacy Archives collection focuses mostly on the relationship between the United States and the Soviet Union rather than the relationship between the German Democratic Republic (GDR or East Germany) and the U. S. However, Mr. Swan donated a chunk of the Berlin Wall as part of his collection. Throughout the 1980s, East Germans increasingly filed requests to immigrate to West Germany; with the (false) announcement of a new emigration policy on November 9, 1989, thousands rushed the Wall. Thereafter, individuals began picking off pieces such as this one to keep as souvenirs until the wall was finally dismantled systematically in the summer of 1990.
Professional photographer Gary Mark Smith spent some time in Europe in 1990 and took pictures of the streets in Berlin before the wall was entirely dismantled. He also took pictures of proud Germans waving a reunited German flag in Cologne.
The fall of the Berlin Wall is one of those globally historic moments, the kind that has people asking each other “Where were you when….?” Were you alive when the Berlin Wall fell? Do you remember what you were doing that day in November 1989 when you heard the news?
Marcella Huggard Archives and Manuscripts Processing Coordinator