Kenneth Spencer Research Library

One hundred and fifty-seven years ago, on August 21, 1863, William Clarke Quantrill and his men rode into Lawrence bent on destroying the town. The results of the dawn raid were the destruction of numerous businesses and homes and 143 deaths. State officials and people from surrounding towns provided aid to Lawrence to help meet the basic needs of the residents and to rebuild the town. 

Although her family lived in Lawrence, Anna Julia Soule was a school teacher in Kanawaka, six miles to the west, at the time of the raid. That morning, she saw the smoke coming from Lawrence, and would later recall that “we (the citizens) knew that a raid had been feared but vigilance had been relaxed and, concluding that there was not much danger, the town had stopped keeping guard at night” [1].

When Anna reached Lawrence after the raid, she found her high school teacher among the dead at the first house she stopped at. Upon locating her brother William Soule, Anna learned that her the rest of the family were safe, but that the family’s house had been destroyed. They had nothing except for the clothes they were wearing. The family stayed at the home of prominent Lawrence physician Sylvester B. Prentiss in the days following the raid. 

Anna briefly return to Kanawaka to teach after the raid, but not for long. As she would later write, “the term was nearly out and the excitement made teaching difficult, as even in the country the raid was the only thing in all our minds” [2].  

Instead of completing the term, Anna decided to go to Maine with her mother and sister to live with family and friends for a time. Of the first leg of the journey back east, she wrote,

“We went on the stage to Leavenworth, borrowing bonnets for the trip so far and sending them back on the stage. The people of Leavenworth were very kind, the women meeting daily to sew for the Lawrence sufferers and offering us help, but we only accepted such things as seemed necessary for our journey, as the people in Lawrence were in greater need than we were, for we were going to our friends who gladly helped us” [3].

The ladies returned to Lawrence in 1865 to find the town rebuilt. On June 21, 1866, Anna married Dr. Prentiss. Over the years, she was an active participant in the Lawrence community. She was involved in Lawrence’s temperance organization, was a founding member of the Lawrence No Name Club, active in her church, and took part in the reunions held by raid survivors. Anna was also the proprietor of a home goods store for several years.

Anna wrote about her experiences during Kansas’s territorial period for publications and the various clubs, organizations, and activities in which she was involved. 

[1] Clevenger, Maurine. “Memories of Early Lawrence.” Jayhawk: The Magazine of Kansas, volume 2, number 8, August 1929.

[2] Prentiss, Ann Julia Soule. “From Boston to Kansas in 1855.” Kansas Woman’s Journal, June 1926.

[3] Ibid.

Letha Johnson
Kansas Collection Curator

I love ice cream. I’ve very rarely screamed for it, but I may occasionally feel the urge! There are many flavors I like, including matcha and mint chocolate chip, though I feel there is something special about a good vanilla or my absolute favorite…homemade peach ice cream. Ice cream flavors are also a great thing to disagree about. You can have a very satisfying argument about which flavor is best (or at least rank them) knowing that it doesn’t really matter. It is a treat, it is satisfying, it is not particularly healthy, and it has a special quality of nostalgia for me.

I remember getting together with family on the Fourth of July, playing all day, eating too many hot dogs/burgers/potluck/picnic food of all sorts, then finding the room to try three or four different flavors of homemade ice cream while sitting back and watching the fireworks. The sound of the churns were a persistent whine accompanying the conversation and bangs going on through the day.

No doubt such shared smiles and remembrances led to the naming of July as National Ice Cream Month.

Ice cream can be found in our collections as well. I mean…not literally. That would be a nightmare for archival control. Instead there are pictures of people working on the apparatus of ice cream making, gathering socially around ice cream, or even making a buck going back quite a while!

So when the urge for ice cream strikes, indulge, at least a little.

Shelby Schellenger
Reference Coordinator

In honor of Father’s Day, please enjoy this selection of photographs of fathers with their children, taken from the Joseph Pennell photograph collection of Fort Riley and Junction City, Kansas.

More photographs from the Pennell Collection follow, but unfortunately no other information could be found about the people in them.

Kathy Lafferty
Public Services

In the first installment of this two part blog series, the Kansas artist, Mary Huntoon, was introduced. We shared how her print, Kansas City, Kansas Grain Elevators, was prepared for an overall washing treatment in order to reduce several dark brown stains along the top edge that interrupted the image area and created bulging in the surface.

Before any washing treatments are performed on works on paper, all media are tested with the proposed washing solutions to ensure their stability. The surface is also checked for any areas where the print may have been previously restored, or even re-touched by the artist with another material that might be water-soluble. I carefully examined the print under magnification during testing in order to make sure the ink and paper were safe for washing. Everything checked out, so I was ready to start the washing step.

Prior to washing, the print was gently surface-cleaned and the brown paper attachments were removed. You can read more about these steps in the first blog post about this treatment.

Before a work on paper is placed into a bath, the entire object must slowly undergo a humidification step. This helps to relax the paper and the media and prevents aggressive swelling. Then the object is gently sprayed with deionized water using a fine mist attachment in order to fully saturate it. This step-wise procedure ensures a gentle transition for the object into the bath.    

The print was washed in successive baths of pH-adjusted deionized water and air-dried. I examined the print once again to assess the progress of the washing step. The stains had noticeably lessened, but they were still quite visible, and I decided to test another stain reduction technique.

Using a small brush, I gently introduced very small applications of a dilute reducing bleach to the stained areas. This reduced the stain to an almost undetectable level. Then the bleach was fully rinsed with additional baths of pH-adjusted deionized water. I used an ultraviolet lamp to check to see that all the bleach, which fluoresces under ultraviolet radiation, was rinsed away.

After the stain reduction and overall washing was complete, it was time to address a few structural concerns. Weak creases in the upper corners made the print vulnerable to breakage and tearing, so I reinforced them using Japanese paper applied with wheat starch paste we make in our conservation lab. Instead of cutting the Japanese paper, it is wetted and torn. This torn edge makes use of the long kozo fibers in the paper and creates a strong mend that integrates well into the paper. After all the mends and reinforcements were complete, the print was humidified a second time and flattened between thick felts. Pressing between felts helped to remove planar distortions along the edges, while also maintaining the plate mark of the etching.

Now that the treatment is complete, the print is ready to be returned to the collection where it can be safely examined by visitors to the Kenneth Spencer Research Library.  

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 will be treated.

Jacinta Johnson, Associate Conservator, Mellon Initiative

In this time of pandemic, we are all facing issues of material access and spending inordinate time in the halls of the internet. And if you’ve spent much time in the halls of the internet, then you are well familiar with memes. These pictures taken out of context and often slightly edited or at least with added text deliver small, precise, and often entertaining snippets of thought in an easily digestible, easily shareable format. 

Let’s do this!

I mean, I suppose there are a few considerations. It is important to be aware of copyright concerns when it comes to both making and sharing memes. Is the work transformational? Is the selected image in the public domain? How do I do this meme thing anyway? 

This post will deal primarily with finding and using University of Kansas digital collections as a source for memes. As such, I will focus on things that are clearly okay to use. This is going to mean things which clearly state use is possible as well as anything from before 1925. Beyond that, use may be possible but pay close attention to any rights statements and be aware of Fair Use doctrine application. The Kenneth Spencer Research Library addresses much of this in our section “Request Reproductions.”

Many use statements are going to include attribution. One of the easiest ways to do this in a meme format image is that once you have your meme generated, but before you share it, open the file properties. In the file properties you should be able to add author/artist and a note/comment including the attribution statement. Once those have been added to the file, then share!

A few collections to search for materials to use: 

From the Ground Up: Collection of landscape art with a few other things. Use statement allows use with attribution. 

Invertebrate Paleontology: Photographs of invertebrate fossils. Use statement allows use with attribution. 

KU Libraries – Digital Collections: Many images prior to 1925, published by a government entity, or otherwise available for use…still important to check the rights information of any image you use! 

Once you have selected an image to use in making your meme, you will want to figure out what service you may want to use. There are several free-to-use options out there as well as using software such as Photoshop or Paint. I have used Adobe Spark, KAPWING, and imgflip in making the memes I’ve put on this page. They were all similar in ease-of-use. KAPWING offered a few features that were easy to find but has a more intrusive watermark. Imgflip was straightforward, but maybe not as many features. Adobe Spark required a registration that the others didn’t. 

A couple of other articles you may find helpful in your meme-making future: “How to Make a Meme” by Gannon Burgett on Digital Trends and “Copyright for Meme-Makers” by Colleen McCroskey at Public Knowledge.

Shelby Schellenger
Public Services