Kenneth Spencer Research Library

Having taken over the Ringle Conservation Internship from my predecessor and colleague Brendan Williams-Childs for the processing of the Hannah Scott photography collection, I have continued the necessary tasks and procedures to appropriately rehouse, organize, clean, and inventory thousands of glass plate negatives (3,821 to be exact) that comprise a mere fraction of the entire collection. These inventorying and rehousing procedures are much the same as other archival projects completed by interns and professionals in the field. Maintaining careful records and attention to detail are of paramount importance. The basic steps involve removing the old housing (acidic envelopes), notating the identifying information of each individual plate in a spreadsheet and on the new acid-free, four-flap enclosures, removing dust with a soft brush, and finally placing the completed rehoused plate into a new box.  Such processes have been discussed, in detail, in many archival projects across repository institutions.  

Rather than repeat the processing steps discussed by my predecessors, I examine the potential research opportunities and significance this collection embodies. Not only is this collection invaluable for genealogical research (Hannah’s meticulous record keeping make this collection a researchers dream) but also for women and gender studies. The uniqueness and increasing fascination I have discovered in this collection and internship lies with the photographic abilities and entrepreneurial spunk displayed by Hannah Scott as an independent businesswoman in the early 20^th century. Her distinct ability to photographically capture lively images of young children combined with her apparent business acumen make her a noteworthy example of Kansan and female ingenuity.  

It seems that Hannah’s work process encouraged taking multiple photos with different backgrounds, props, and poses. In several of the plates, elements of the studio were inadvertently captured including figures not part of the carefully crafted tableaux. Particularly with the young children, there seems to be a degree of collaboration with the mothers who attempt to gain the child’s attention and happy expression. Hannah seems to have encouraged these interactions to achieve the desired image results. Hannah’s skill with timing and attention to detail while coordinating with the parent was one of her greatest strengths as an artist-businesswoman, achieving crystal-clear, natural images. Many of her other images are conventionally posed and formatted to express family relations and pristine pseudo-intellectualism (many older children and adults stiffly hold/read books, magazines, and diplomas). Like today, these artistic choices responded to the desires of the clients and the photographic conventions witnessed in the popular media.

Later images start to appear more relaxed and natural overall. Perhaps this indicates a shift in how people understood photography not as just a formal once or twice in a lifetime event but a more commonplace fun activity in which they felt freer to express their personality with a technology they had become familiar with as children. It should also be noted that there are significantly more women who are commissioning portraits than men. Images of children make up most of the portrait subject matter but the plates and register books indicate a “Mrs.” John Smith, more often than the given name of the child or male name. The sheer number of plates and named clients attests to Hannah’s popularity as a portrait photographer. 

Hannah Scott was born in Canada in 1872 to Scottish immigrants who later settled in Kansas. She was the fifth of seven children and the only girl. Hannah chose her career path through the inspiration of an article in the Ladies Home Journal by Edward Bok. This article advised that ladies with an artistic inclination were well suited for studio photography as this was deemed suitable work for women at the time. With the approval and support of her family, Hannah pursued a photographic career. With unflagging initiative and energy Hannah apprenticed and advertised with the local photo studio, the Stone Front Studio, owned and operated by Allen Brown. Eventually Hannah bought out Allen Brown to open her own studio, “The Hannah Scott Studio,” later “Scott Photography Studio.” Starting out on her own in 1898, she rented studio space on the second floor of a local commercial building in downtown Independence KS. In 1916 she purchased a lot at 111 South 8^th street in Independence and commissioned a new studio building. The titles for this property were in Hannah’s name and over the years three mortgages were taken out and quickly paid off indicating Hannah’s autonomy and success as a businesswoman. Later she hired her younger brother Hugh to work in the development process and as a junior partner, but Hannah maintained primary control of the business until her death.  

More research is needed to fully examine Hannah Scott’s life and work. As an important example of women in business and industry, Scott’s life can expand current perceptions of women’s work in the late 19^th and early 20^th centuries. Previous scholars have mentioned the Independence Historical Society might have more information about Hannah and her family in the local archives. Once fully indexed with a published online finding aid, this collection will prove invaluable for genealogical research for southeastern Kansas.  

Hannah Johnson
Ringle Conservation Intern, 2023-2024

This second installment of the temporary exhibit of the Hollmann photograph collection focuses on photographs of Kansas, featuring images depicting settlement, military service, portraits, and colleges. (The first installment highlighted photographs of Lawrence.)

Kansas settlement

Cabinet card of a sod home with family. Photographer B. I. March.
Call Number: RH PH 536, Box 41, Folder 8. Click image to enlarge.

M. Sheley and his family casually pose outside of their sod home with their horses near Norton. The date of the photograph is approximately 1900. In some areas of Kansas, lumber and trees to build houses were not available to early settlers. They built homes, barns, churches, and schools out of sod instead. Many images of sod structures appear in the Hollmann photograph collection.

Stereoview of Dodge City, Kansas. Published by J. Lee Knight of Topeka, Kansas.
Call Number: RH PH 536, Box 85, Folder 6. Click image to enlarge.

This stereoview shows an early view (1874?) of the settlement of Dodge City. Wagons or carts are piled high with an indiscernible cargo. An inscription on the right side of the card reads “Goods for export, Dodge City.”

Kansas military service

The Hollmann photograph collection contains many images of Kansans serving in the Civil War, Spanish-American War, World War I, and even World War II. Several hundred photographic postcards of Camp Funston illustrate life for Kansans training for World War I.

Postcard of Holyrood men before leaving for Camp Funston.
Call Number: RH PH 536, Box 15, Folder 34. Click image to enlarge.

This postcard, dated May 27, 1918, captures men in suits leaving their hometown of Holyrood in central Kansas for Camp Funston to serve in World War I. It appears that the photograph was taken near a railroad. The building behind them could be the train station.

Two members of the 9th Cavalry band. No photographer identified.
Call Number: RH PH 536, Box 28, Folder 22a. Click image to enlarge.

Dorcy Rhodes (left) and Sergeant Emilio Jarnilia of the 9th Cavalry band pose outside a building at Fort Riley. Their names are inscribed on the back of photograph. Although their service dates are not identified, the photograph dates from approximately the 1910s.

Kansas colleges

Besides the University of Kansas and Haskell Institute, featured in the previous post, many other Kansas colleges and universities are represented in the Hollmann photograph collection.

Stanley Hall at Western University caption: Western University for African Americans in Quindaro.
Call Number: RH PH 536, Box 44, Folder 16. Click image to enlarge.

Unidentified students stand in front of Stanley Hall at Western University in Quindaro in approximately 1906. The school was established after the Civil War and was the only African American school in Kansas. The university closed in 1943.

Stereoview of the Agricultural College, published by L. A. Ramsour in Manhattan.
Call Number: RH PH 536, Box 87, Folder 10. Click image to enlarge.

Shown here is the “Main building” of the Agricultural College, now known as Kansas State University, dated approximately 1880. The stereoview publisher, L.A. Ramsour, of Manhattan, Kansas, also published views of New Mexico, hence the publisher’s printing along the sides of the stereoview.

Kansas portraits

Unidentified woman, possibly from Valley Falls.
Photographer McCoy from Valley Falls, Kansas.
Call Number: RH PH 536, Box 48, Folder 4. Click image to enlarge.

Unfortunately, many of the portraits in the Hollmann photograph collection do not have identification. Often, a penciled inscription on the back of the photograph will identify the subject or give a clue as to the identity. This woman is not identified on the back, however since the portrait was taken in Valley Falls, it is possible that she is from there. Her clothing allows the photograph to be dated to approximately the 1880s.

Carte de visite of Pottawatomie Chief Abram Burnett of Topeka.
Photographers Bliss & Wentworth of Topeka. Dated approximately 1869.
Call Number: RH PH 536, Box 60, Folder 18. Click image to enlarge.

Pottawatomie Chief Abram Burnett was an important figure in Topeka history, moving to the area in the 1840s and serving as a mediator among the Pottawatomie tribe. He died in 1870 and was buried on his farm.  His grave site is now known as Burnett’s Mound. A note inscribed on the back of the photograph states that the card was purchased as a souvenir in the 1860s.

Be sure to come view the temporary exhibit in the North Gallery in the Spencer Research Library before it closes at the end of August! The Spencer Research Library is open to everyone. If you would like to do research with the Hollmann photograph collection, please see our website for information on visiting and using the collection at Kenneth Spencer Research Library.

Lynn M. Ward
Processing Archivist

Leonard Henry Hollmann from Eudora, Kansas was passionate about photography and collecting photographs, especially those about Kansas or by Kansas photographers.

Mr. Hollmann donated his photographic collection to the Spencer Research Library shortly before he passed away in January 2016. Containing over 10,000 images, the collection is a gem. Hollmann had carefully collected images from across Kansas (and some from Missouri and Nebraska), with a concentration on Lawrence and Douglas County. Most of the images date from the 1850s-1930s.

The collection contains many types of photographic formats including ambrotypes, tintypes, cartes de visite, cabinet cards, postcards, and stereoviews. The arranging and describing of the collection, because of its enormity, took seven months.

This amazing collection is now available for researchers. View the finding aid here: Guide to the Leonard Hollmann photograph collection. At the very top of the finding aid there is a search box where you can enter any keyword to search the document. Try typing in a town name or something else, like “dog” or “bicycle.”

A selection of the Hollmann photograph collection is on exhibit in the North Gallery of the Spencer Research Library until the end of August. The temporary exhibit highlights about 35 images of Lawrence, Kansas and other Kansas towns. The photographs on view date from 1862 to 1918. Some of them are rare and have not been viewed by the public before.

Our two-part blog will feature Lawrence photographs in the first installment and Kansas images in the second installment.

Early Lawrence residents

 Ambrotype of deceased eleven-month-old Lawrence girl Freddie Rockwell Read, 1862.
Call Number: RH PH 536, Box 64, Folder 1. Click image to enlarge.

One of the most defining moments in Lawrence’s history was Quantrill’s Raid in 1863. Before and during the Civil War, Kansas and Missouri had many unofficial skirmishes between each other. William Quantrill’s raid on the free-state town of Lawrence, Kansas (also known as the Lawrence Massacre) was a defining moment in this time period. At dawn on August 21, 1863, Quantrill and his guerrillas rode into Lawrence, where they burned much of the town and killed between 160 and 190 men and boys.

An early type of photograph, ambrotypes were produced by placing a glass negative against a dark background. Although they were more affordable for families, it was uncommon to have an ambrotype photograph taken. Unlike tintypes, only one ambrotype was produced during a photographic sitting. It is possible that this is the first time that this photograph of Freddie Read has ever been published, or been on exhibit!

Carte de visite of John Lewis Crane. Photographer L. M. Price, no location.
Call Number: RH PH 536, Box 58, Folder 17. Click image to enlarge.

Originally from Connecticut, John Lewis Crane was a partner in a shoe store in Lawrence before he was killed during Quantrill’s raid. Photographs of two of his siblings and brother-in-law Gurdon Grovenor are also in this collection.

University of Kansas

Cabinet card of Hannah Oliver. Photographer Mettner of Lawrence, Kansas.
Call Number: RH PH 536, Box 36, Folder 5. Click image to enlarge.

A Quantrill’s raid survivor, Hannah Oliver received her Bachelor of Arts in 1874 and her Master of Arts in 1888 from the University of Kansas. She joined the faculty of KU in 1890, teaching Latin. She retired in 1931. The finding aid for her personal papers at Spencer Research Library can be accessed through this link: Guide to the Hannah Oliver collection.

Stereoview card of Old Fraser Hall, published by W. H. Lamon, of Lawrence, dated 1884.
Call Number: RH PH 536, Box 85, Folder 7. Click image to enlarge.

The “New Building,” as it was called when it was built in 1872, was later called “Fraser Hall” after KU’s second chancellor, General John Fraser. In these images, several covered buggies and horses are visible next to the building. It was demolished in 1965.

The Hollmann photograph collection contains thousands of stereoview cards. These were popular as a form of entertainment from the 1850s to the 1930s. To view the image, the card was inserted into a stereoviewer. When the two separate images depicting left-eye and right-eye views of the same scene are viewed through the viewer, the brain merges both together, creating one three-dimensional image. While stereoview cards in general are common, the cards in the Hollmann photograph collection are mostly of rarer scenes. Some may even be one-of-a-kind.

Haskell Institute

Now known as the Haskell Indian Nations University, images of this important Lawrence school and college are represented in the Hollmann photograph collection.

Tintype of Standing Fox, also known as Ephram Cloud, Junior.
Call Number: RH PH 536, Box 63, Folder 37. Click image to enlarge.

Little is known of the cased tintype of Standing Fox, also known as Ephram Cloud, Junior. According to paperwork with the image, he may be associated with Haskell Institute.

Cabinet card with identified students of Haskell Institute, photographer J. B. Shane of Lawrence.
Call Number: RH PH 536, Box 37, Folder 21. Click image to enlarge.

These children have been identified on the back of the photograph as: 1. Geneva Roberts, Wichita (seated, far left); 2. Wiley Morgan, Seminole (standing, on left in back row); 3. Nellie Bates, Wichita (standing, center); 4. Nora Guy, Caddo (in front); 5. Peter Williams, Caddo (standing, on right in back row); 6. Richard Longhat, Caddo (standing, in dark uniform on far right).

Be sure to come view the temporary exhibit in the North Gallery in the Spencer Research Library before it closes at the end of August! Spencer Research Library is open to everyone. If you would like to do research with the Hollmann photograph collection, please see our website for information on visiting and using the collection at Kenneth Spencer Research Library.

Lynn Ward
Processing Archivist

[1]  From Quantrill and the border wars, by William Elsey Connelley, page 367, Spencer Research Library call number RH C5055.

George Allen with his collection, December 1989.
Lawrence Journal-World Photo. George Allen Photograph Collection
accession file. Click image to enlarge.

George Allen (1913-2007) was born in Wichita, Kansas. His family moved to Lawrence in 1927. He graduated from Liberty Memorial High School, and then earned a law degree from Kansas University. He practiced law in Lawrence for forty years. Mr. Allen also collected stereoviews, a hobby fueled by his love of history and an interest in photography. He bought his first stereoview in the 1950s from a woman who operated an antique shop behind her house. He would go on to spend thirty-five years collecting thousands more, with his collection peaking somewhere between 20,000 and 25,000. In 1990 he sold 722 stereoviews to the University of Kansas Libraries. Among the collection are views of Kansas, Arizona, Illinois, Nebraska, New Mexico, North Dakota, Ohio, Pennsylvania, Texas, Missouri, Dakota Territory, as well as images of cowboys, sod homes, coal mining, floods, cattle raising, the Chicago Exposition of 1874, and railroads.

Emporia News building on Commercial Street, Emporia, Kansas, undated.
George Allen Photograph Collection. Call Number: RH PH 137.
Click image to enlarge.

Flood in Abilene, Kansas, 1903. George Allen Photograph Collection.
Call Number: RH PH 137. Click image to enlarge.

Boys bathing in Mud Creek, Dickinson County, Kansas, undated.
George Allen Photograph Collection. Call Number: RH PH 137.
Click image to enlarge.

The most popular stereoviews from Mr. Allen’s collection are fifty-five from Alexander Gardner’s “Across the Continent on the Union Pacific Railway, Eastern Division” series, which include several images of post-Civil War Lawrence, Kansas. Gardner, working for the Union Pacific Railway, took his photography wagon, loaded with chemicals and glass plates, across the west in 1867. He first followed the existing railroad line, which passed through Kansas, and then he continued along the proposed railroad route to the Pacific Ocean. He documented the towns, landscapes, and people he encountered on the way, using stereoviews to do so.

Massachusetts Street, Lawrence, Kansas, 1867 (front and back of card).
The image shows the rebirth of the town within five years of Quantrill’s Raid.
Alexander Gardner, Across the Continent on the Union Pacific Railway, Eastern Division.
George Allen Photograph Collection. Call Number: RH PH 137.
Click images to enlarge.

Stereoscopic photography consists of two nearly identical images pasted on a board, side by side. To get the two images, the photographer would make an exposure, then move the camera 2 1/2 inches, the average distance between human eyes, and make a second exposure. The photographer would then develop each of the images and paste the prints onto the board. When the two images are viewed through an apparatus called a stereoscope, or stereoviewer, the eyes force the two images into one image, creating the appearance of depth perception, or 3D. Another method was to use a twin-lens camera, which allowed the photographer to make the two exposures simultaneously, saving time and eliminating the need to reload the camera.

An example of a stereoviewer, also known as a stereoscope.
Image courtesy of Gilai Collectibles. Click image to enlarge.

Collecting and trading stereoviews of plays, famous sites, people, or events was quite popular in the mid nineteenth and early twentieth centuries. Most homes had a stereoviewer in the parlor, which allowed viewers to see, for example, views of Paris without actually traveling. Mr. Allen enjoyed stereoviews for the way they portrayed history and told the story of our shared past.

Round-up on the Sherman Ranch, Genesee, Kansas, undated (front and back of card).
George Allen Photograph Collection. Call Number: RH PH 137. Click images to enlarge.

Dugout sod home, Kansas, undated. George Allen Photograph Collection.
Call Number: RH PH 137. Click image to enlarge.

Kathy Lafferty
Public Services

Tensions are high this week as two of college basketball’s winningest and most storied teams, the University of Kansas Jayhawks and the University of Kentucky Wildcats, face off tomorrow in Indianapolis. During March Madness these schools are rivals, but younger generations may not realize that they share a history through the sixth winningest Division I coach of all time, the “Baron of the Bluegrass” Adolph Rupp.

Lexington, Kentucky, my hometown and home of the UK Wildcats, boasts Rupp Arena, named after legendary coach Adolph Rupp. It is the largest indoor arena ever built expressly for basketball, as well as the largest indoor sports arena in the country and sixth largest in the world. Its sheer size pays homage to Rupp’s tremendous and immutable impact on UK and college basketball, but he would not have reached this level of success without his beginnings at KU.

Adolph Rupp was born in Halstead, Kansas, in 1901. By the time he attended Halstead High School, James Naismith had moved to Kansas and introduced his newly invented game of basketball to the area. Rupp attended KU and, under direction from Naismith and head coach Forrest C. “Phog” Allen, played as a reserve from 1919 to 1923, including the 1922-1923 team that went undefeated in conference play and was voted national champions.

KU national champions basketball team, 1922-1923. Top left: Adolph Rupp.
Middle row, second and third from left: Phog Allen and James Naismith.
Call number: RG 66/13 1922-1923 Team Prints: Athletic Department: Basketball (Photos).
Click image to enlarge.

After college, Rupp spent several years coaching at high schools in Kansas, Iowa, and Illinois before taking a coaching job at UK in 1930. He remained head coach at Kentucky until being forced into retirement at age seventy due to university policy. Throughout his time at UK, his teams faced the Jayhawks many times, but Rupp remained cordial with his former coach and alma mater.

Phog Allen (left) and Adolph Rupp (right), undated. Call number: 66/13 Rupp, Adolph (Photos).
Click image to enlarge.

Rupp died from cancer on December 10, 1977 in Lexington, Kentucky. Ironically, his former Wildcats played the Jayhawks that night in Allen Fieldhouse and reigned victorious. Rupp is most often associated with UK and commemorated by Kentuckians, but UK would not be on top of the basketball world without Rupp’s outstanding leadership fostered by his Kansas upbringing. His legacy is not lost on Kansans either; his high school hosts the Annual Halstead Adolph Rupp Basketball Tournament, now approaching its 45th year. Rupp’s family remained in the Lawrence area after he moved away and have provided insight into Rupp’s early life and basketball career. For more information about his home life in Halstead, see the article “His Hometown” in the Rupp section of the Courier-Journal, Monday, December 12, 1977 (call number: PP 221).

So in celebration of this week’s showdown, come to Spencer Research Library to read more about Adolph Rupp’s Kansas origins and subsequent time at rival UK (both the glory and controversies) in our collection of his personal papers (PP 221).

Megan Sims
Public Services and Processing Student Assistant
KU Museum Studies Graduate Student