Kenneth Spencer Research Library

With the end of summer, and the start of school just around the corner, perhaps you are thinking about squeezing in just one more road trip. Maybe you’d like to explore a state you’ve never been to, or get to know the one you’re in a little better. You’ll need a good, concise guidebook for the journey, one with interesting facts and historical information, as well as reliable maps and tourist information. To start with, you might consider consulting the American Guide Series. Although they were published from the late 1930s through the mid-1940s, they still provide excellent background information to get you started, although you’ll probably want to get an up-to-date map.

American Guide Series for Missouri (1941), Colorado (1946), Nebraska (1939),
and Kansas (1939). Call Numbers: RH C9550, RH C11457,
RH C11415, and RH C11429. Click image to enlarge.

When Franklin Roosevelt became our 32nd president in 1933, the biggest national issue he and his administration had to contend with was the country’s severe economic depression, then in its fourth year with no end in sight. The plan they came up with to address this predicament became known as the New Deal, and it put in place a series of programs created by Congress and by presidential executive order to provide relief, recovery, and reform, all aimed at getting people back to work and the national economy on its feet again. The Works Progress (later Projects) Administration (WPA) was the largest of the New Deal agencies.

Fold-out map of Kansas from the American Guide Series volume on the state, 1939.
Call Number: RH C11429.Click image to enlarge.

One of those WPA projects was the agency called the Federal Writers’ Project (FWP). Begun in 1935 and ending in 1943, the FWP, at its peak, employed approximately 6,600 unemployed writers, editors, researchers, historians, art critics, archaeologists, geologists, cartographers, and clerical workers. They produced more than 276 books, 701 pamphlets, and 340 other publications, such as articles, leaflets, and radio scripts. The most popular of these works was the American Guide Series. Each state, through the FWP, hired staff to create a guidebook that contained information about the state’s history, cities, landmarks, and historic sites; the culture of its people; and the geology and geography of the land. Each guidebook also contained a detailed highway map, usually folded up at the back of the book. In addition to the states, guidebooks were created for the territories (except Hawaii) and large cities, such as Washington, D.C. and New York. Some states, including Kansas, were able to create guidebooks for a few of their towns, as well. For their time, there is also a surprising amount of information about minority populations in the guidebooks, although often stereotypical and exploitative. The goal of the guidebooks was to familiarize Americans with their own state and country and to keep them in the United States on their vacations, where their tourism dollars were most needed.

Title page of American Guide Series for Washington, D.C., 1937.
Call Number: RH C3424. Click image to enlarge.

Title pages for American Guide Series for Leavenworth (1940) and Larned (1938), Kansas.
Call Numbers: RH C4787 and RH C4999. Click image to enlarge.

Describing the Series, Harry Hopkins, federal relief administrator, perhaps said it best when he asserted (as quoted in Catherine A. Stewart’s Long Past Slavery):

The American traveler gets into his automobile and travels for four days…and has the conviction that there is nothing of interest between New York and Chicago. Outside of a few highly advertised [sites]…he isn’t conscious of what America contains, of what American folk habits are. Americans are the most travel-minded people in the world; but their travel is two percent education and 98 percent pure locomotion. Speeding through towns whose chain stores look as if they had been turned out on an assembly line, the American motorist is unaware of the infinite variety and rich folklore of the American scene…For the first time, we are being made aware of the rich and varied nature of our country…By producing books that are helping us to know our country, the Writers’ Project helps us become better acquainted with each other and, in that way, develops Americanism in the best sense of the word.

Sources:

Hobson, Archie. Remembering America: A Sampler of the WPA American Guide Series. New York: Columbia University Press, 1985.

Shortridge, James R. The WPA Guide to 1930s Kansas. Lawrence, Kansas: University Press of Kansas, 1984.

Stewart, Catherine A. Long Past Slavery: Representing Race in the Federal Writers’ Project. Chapel Hill, North Carolina: The University of North Carolina Press, 2016.

Kathy Lafferty
Public Services

Around the time of our Care and Identification of Photographs workshop here at Spencer, I had four photographs from the John W. Temple Family Papers on my bench in the lab for cleaning and rehousing. The timing was fortunate for me, because from the workshop I picked up some tips for housing these items, and I also learned about the unique process by which two of the prints were created.

The photographs arrived, as so many of their age and type do, in precarious condition: two medium-format portraits were housed in heavy, dusty frames that were held together with brittle nails, and two military panoramic photographs were mounted to brittle, acidic boards. All of the photographs had varying degrees of surface dirt and apparent water staining, and had sustained some amount of physical damage caused by their housings and mounts. Before they could be safely handled and described by processing archivists, it was necessary to stabilize their condition and provide them with protective housings.

The two panoramas, which depict Troop D of the 9th Cavalry during the time of John Temple’s service in the Spanish-American War, were mounted to boards about two inches larger on all sides than the prints themselves. One board had a large loss along one edge and the other had a long vertical break in it that was causing the photograph to tear. Rather than removing the photographs from the backing entirely (a time-consuming and rather harrowing process), I trimmed the mounting board close to the edges of the photographs to reduce the potential for further breakage. I also cleaned the photographs with polyurethane cosmetic wedge sponges, which are gentle on the delicate emulsion surface. I then created a folder of archival corrugated board fitted with pieces of 1/8” archival foam to hold the photographs snugly in place, leaving spaces to allow them to be removed if necessary. The foam is firm enough to support the photographs but will not abrade the fragile edges.

Panoramic photographs of 9th Cavalry, Troop D, circa 1898.
John William Temple served in this unit during the Spanish-American War.
Photographs shown in housing with foam inserts.
John W. Temple Family Papers. Call Number: RH MS-P 1387 (f).
Click image to enlarge.

Detail of panoramic group portrait of Troop D of the 9^th Cavalry
(with adorable canine companion), circa 1898. John W. Temple Family Papers.
Call Number: RH MS-P 1387 (f). Click image to enlarge.

The two portraits were in more fragile condition and therefore needed a few more layers of protection than the panoramas. They depict Fred Thompson, and a young Pearl Temple, wife of John W. Temple. With the curator’s and archivist’s consent, I removed the frames; the frames’ backings were loose and unsealed, which made removal easy, but the portraits were covered in surface dirt that had made its way in through the unsealed backings. I cleaned the portraits as I had the panoramas, with soft cosmetic sponges. Each portrait is mounted to a thin board, and I again considered but ultimately rejected the idea of removing the mounts. Even though past water damage has caused the portraits to warp slightly, they were stable enough once removed from the frames.

To house the portraits, I first affixed the portraits to sheets of mat board using large archival paper corners as shown in the photos below. The corners gently hold the photographs in place to prevent shifting, and they can be easily unfolded to allow for viewing or removing the items. Such corners are often used in photograph and art conservation and framing, but they are usually small and discreet and not as generously sized as these. Because the main purpose of this housing is to protect the portraits, I made these corners extra-large to distribute any stress on the photograph edges. Next I hinged window mats to the lower mat boards and lined the inside of the window mats with the same thin foam I used in the panorama housing, again to prevent abrasion of the photograph surfaces. Finally I added a front cover of mat board, and placed all three of the housings together in a flat archival box.

Two undated historic portraits in their new housings:
Fred Thompson (left) and Pearl Temple (right).
John W. Temple Family Papers. Call Number: RH MS-P 1387 (f).
Click image to enlarge.

Detail of paper corners, closed to secure photograph (left) and
open to allow access (right). Pearl Temple portrait, undated.
John W. Temple Family Papers.
Call Number: RH MS-P 1387 (f). Click image to enlarge.

Photograph housing with foam-lined window mat.
Fred Thompson portrait, undated. John W. Temple Family Papers.
Call Number: RH MS-P 1387 (f). Click image to enlarge.

Completed photograph housings in a flat archival storage box.
John W. Temple Family Papers. Call Number: RH MS-P 1387 (f). Click image to enlarge.

When I first began working on the portraits, I noticed evidence of retouching on the images – a common practice. During the photograph identification workshop, I learned that this type of portrait is called a crayon enlargement, and that they were popular in the early twentieth century. In a crayon enlargement, the photographer uses a smaller photograph, often a cabinet card, to make an enlarged print that is usually slightly underexposed, and then adds hand-drawn or painted touches to the enlargement. The result can be subtle, as in our two portraits here, or so heavily augmented as to be difficult to identify as a photograph.

Both of these portraits are probably gelatin silver prints; the neutral tone and silver mirroring on Fred’s photograph point to that process (Pearl’s photograph was probably sepia toned to give it its warm color). In Pearl’s portrait, the embellishments are limited to a few brushstrokes accentuating features of her face and ruffles in her dress. There is also a patterned background that was probably created with an airbrush and stencil. To the naked eye these are the only additions, but under magnification (our workshop fee included a super handy handheld microscope) it’s possible to see pigment droplets throughout the image, indicating more airbrushing.

Detail of hand-drawn embellishments on the portrait of Pearl Temple.
Note the brushstrokes under mouth and nose and along ruffles in clothing.
John W. Temple Family Papers. Call Number: RH MS-P 1387 (f). Click image to enlarge.

The accents made to Fred’s portrait are more extensive. Because the enlargement would have been underexposed, the details in light areas would have been lost, so the photographer has used airbrush and stencil to recreate the washed-out tie and collar, and also to darken the background. As in Pearl’s portrait, pigment drops are visible throughout the image under magnification, even where it doesn’t appear at first look.

Detail of airbrush accents to shirt and tie on portrait of Fred Thompson.
John W. Temple Family Papers. Call Number: RH MS-P 1387 (f). Click image to enlarge.

With the housing complete, these photographs are ready for processing and will soon be added to the finding aid for the collection. It was such a pleasure to work on these wonderful portraits; not only are they lovely objects, but I always love a good housing challenge, and seeing examples of this historical photographic process so soon after learning about it was a happy and instructive coincidence.

Angela Andres
Special Collections Conservator
Conservation Services

Music! Races! Lemonade! Processions! In honor of the Fourth of July, here are three broadsides from the late 1800s publicizing local celebrations.

Broadside, Fourth of July celebration, Jarbalo, Kansas, 1888.
Call Number: RH Q52. Click image to enlarge.

Broadside, Fourth of July celebration,
Springfield, Missouri, circa 1890-1899.
Call Number: RH Q93. Click image to enlarge.

Broadside, Fourth of July celebration, Fulton, Kansas,
possibly 1899. Call Number: RH P100. Click image to enlarge.

Meredith Huff
Building Operations and Stacks Manager
Public Services Student Assistant Supervisor

This is the sixth installment in what will be a recurring series of posts introducing readers to the staff of the Kenneth Spencer Research Library. Deborah Dandridge is the Field Archivist/Curator for the African American Experience Collections in our Kansas Collection.

Deborah Dandridge reading over her presentation notes
at the Black Archives of Mid-America conference held in
Kansas City, MO this past October.

Where are you from?

I was born in Topeka, Kansas, where I attended school K through 12. I began kindergarten at Washington School, one of the city’s four elementary schools designated for African American students and teachers. After the 1954 Brown v. Topeka Board of Education U.S. Supreme Court decision, I completed my grade school education at Washington because my parents determined that Washington’s excellent faculty and supportive environment afforded me the best opportunity for a quality education, although I lived only a half block from a previous whites-only school.

What does your job at Spencer entail?

I reach out to communities across the state for donations of their historical materials (i.e. written and photographic) that document the experiences of African American families, churches, organizations, and businesses and I serve as curator of these materials (i.e. the African American Experience Collections).

How did you come to work at Spencer Research Library?

I began my work in KSRL as field archivist for a 1986-1989 National Historical Publications and Records Commission grant awarded to the Kansas Collection, in cooperation with KU’s African and African American Studies department.

What is the strangest item you’ve come across in Spencer’s collections?

All of the items reflect important experiences in the lives of the donors. They represent special moments or routine activities of the past that inform us about the present.

What part of your job do you like the most?

Visiting with potential donors of materials and participating in community public programs across the Kansas region.

What are your favorite pastimes?

Although it’s difficult, I’m enjoying my new journey into the world of physical training as a client of an expert in the field.

What piece of advice would you offer a researcher walking into Spencer Research Library for the first time?

Be prepared to embark upon a fascinating, never seen before, exploration of the rich, diverse record of human past.

Deborah Dandridge
Field Archivist/Curator
African American Experience Collections
Kansas Collection

We couldn’t resist sharing an extra – and especially cute – entry this week in honor of Valentine’s Day. Enjoy!

Valentine from Buster Brown to Barbara Lauter, 1955.
Lawrence Journal-World Photo Collection.
Call Number: RH PH LJW. Click image to enlarge.

Kathy Lafferty
Public Services