Kenneth Spencer Research Library

Written at a time of great bloodshed and uncertainty, this valentine poem’s tone is more self-reflective and, perhaps, morbid, than you are likely to find in a card in the drugstore rack in 2013. The choice of stationery heightens the war-time effect.

The year on the first page of the poem might read either /64 or /66. What do you think it says? Was this valentine poem written during or just after the Civil War?

“A Valentine” Addressed to Mr. Stephen Jones, [Kerney?] City, Colorado Territory. [1864 or 1866?] Amory K. Chambers Collection. Call number: RH MS 531, Box 1, Folder 7. Click images to enlarge (poem transcribed below).

A Valentine

When years have wrought their changes
Up on the human heart
When lifes bright hopes have vanished
And early friends depart
And would some voice attend
I think that mine for one would say
I truly am thy friend
—
When time has parted us on earth
And years have taken flight
Lets not forget our friendship here
That hope hath made so bright
Let us oft think of how we met
[page 2]
Our voices raised in prayer
And let our lives be pure on earth
That we may meet him there
—
When shared each others griefs and joys
We know each others hearts
But years will make great changes
For we will have to part
Yet let our friendship ere be true
While earth life here has given
And we if live as God requires
We will meet again in heaven

Whitney Baker
Head, Conservation Services

One of the tasks most conservators find quite challenging is the removal of cellophane, masking, or other types of tapes from papers and books. These tapes, called “pressure-sensitive” because they adhere with just the pressure of one’s hand–no heat or solvents required–are wonderful for household tasks but should not be placed on objects of historic or artistic value. Tapes may turn yellow and stain the paper, turn brittle and detach, or get gummy and spread adhesive beyond the confines of the tape. When left in place, tape may damage the artifact to which it is attached, but sometimes it is so well attached that leaving in place is the best option.

Removing tape is challenging and should only be done by a trained conservator. Sometimes the process requires solvents that must be used in a fume hood. Other times we are lucky and the tape may be removed with a handy tool, the Zephyronics Art Air Pencil. It blows a steady, gentle stream of directed hot air, which in many cases is enough to soften the tape’s adhesive and allow the tape backing to be lifted. The gummy residue left behind is removed with a crepe eraser.

Top: Close-up of air pencil on masking tape.  Middle: Removing tape with air pencil machine
Bottom: Using crepe eraser in the final step. Click images to enlarge.

Even with the convenience of the air pencil, it’s a slow and precise job. So next time you are tempted to use a piece of tape on that photo, letter, or book, try to resist.

Whitney Baker
Head, Conservation Services

Sometimes deterioration can be a useful tool for discovering how a book was made. This example, in poor condition, allows us to see how the book’s boards were constructed. Rather than one piece of wood or paperboard, the boards are made from layers of stiff paper glued together with starch paste. Each board is comprised of twelve layers of “printer’s waste,” or discarded pages from other books available for use by the bookbinder. The printed pages used were printed in both black and red ink, probably dating from a 15th century bible.

Andreas Fabricius. Chemnicensis. [Germany?, 1549?]. [Bound with printed work: Joachim Camerius, 1500-1574 . Capita pietatis et religionis Christianae versibus Graecis comprehensa ad institutionem puerilem […], Lipsiae: V. Papa, 1547]. Call number: MS B38. Left: binding open to see the book’s insides; Right: title page for the manuscript; Bottom: book open to show the layers of board.  Click images to enlarge.

The tooled pigskin cover is detached, allowing us to see how the book was sewn on three pairs of linen cords. The cord ends were frayed out and glued to the outside of the “boards.” Linen cords were used as a core to sew on decorative endbands at the head and tail (top and bottom) of the spine.

Left: the book’s tooled pigskin cover; Right: detail of frayed cords.  Click images to enlarge.

The text of this book is a combination of printed and manuscript pages. The subject appears to be a handbook of logic, grammar, and rhetoric. It is a true composite object!

Click on the thumbnails below for additional  images:

Whitney Baker
Head, Conservation Services

Note: For more detailed information regarding the contents of this volume, please see entry M115 in A Checklist of Medieval Manuscripts in the Department of Special Collections at the Kenneth Spencer Research Library (Revised edition, 1996), which is available in the library’s reading room.

Have you ever wondered what steps are involved in mounting an exhibit? We recently completed installation of “100 Years of Jayhawks: 1912-2012,” curated by University Archivist Becky Schulte, with assistance from Letha Johnson and Sherry Williams. The exhibit celebrates the evolution of the Jayhawk, the mascot of the University of Kansas, from the first, long-legged version drawn by Hank Maloy to the present design. This is the first exhibit to be mounted in a newly renovated space in Spencer, in the former location of the Special Collections reception area.

Becky Schulte retrieved many items from the stacks and determined the theme of each of the five cases. Assistant Conservator Roberta Woodrick and I covered the exhibit case bases with the cloth Becky had selected. Once the cases were ready, Becky laid out objects in the cases in rough configurations, determining the best location for each item while considering the flow of the exhibition “story.”

Initial layout of materials in the case. Click image to enlarge.

After items were placed in the cases, we constructed mounts for materials in order to elevate, highlight, and soundly support them during the course of the exhibit. For this exhibition we selected archival matboard and Volara polyethylene foam as mount materials, both of which are inert and will not chemically or physically damage objects on display.

University Archivist Becky Schulte positioning an item on matboard within the case.
Click image to enlarge.

Once the labels and mounts were finished, the Jayhawks were placed in the cases. We measured and determined safe lighting levels for the exhibition space to limit light exposure to objects on display.

Finished Product! The final version of one of the exhibition’s five display cases.
Click image to enlarge.

The exhibit will be on open through March and may be viewed during regular Kenneth Spencer Research Library Hours:  Monday-Friday, 9:00am-5:00pm, and (when regular classes are in session) Saturday 12:00pm-4:00pm . Please visit and let us know what you think!

For images from the exhibition’s opening celebration on Wednesday, December 5, please click on the thumbnails below.

Whitney Baker
Head, Conservation Services

In honor of the upcoming presidential election, we focus today on one form of political advertisement: the bumper sticker. First produced in the 1940s, mostly likely by Kansas City, Kansas screenprinter Forest P. Gill, bumper stickers gained prominence in the early 1950s to advertise tourist attractions, public safety initiatives, political campaigns, radio and television stations, and political and personal viewpoints. As ephemeral artifacts broadcasting historical and social events and trends, bumper stickers are widely collected by museums, archives, and libraries.

Spencer Research Library is fortunate to have a substantive collection of bumper stickers in the Kansas Collection, as part of the Wilcox Collection of Contemporary Political Movements. This world-class collection was (and continues to be) shaped by Laird Wilcox, a former KU student and expert on right- and left-wing political groups from the early 1960s to the present.

For more information about the history of bumper stickers, see “Soapbox for the Automobile: Bumper sticker history, identification, and preservation”

Bumper stickers spanning the political spectrum from the Wilcox Collection of Contemporary Political Movements.
Above the post text: Wilcox Sticker # 46, 17; below the post text: Wilcox Sticker # 165, 28,
39, 50, 81, 22, 71, 174,  42, 33, 64, 1, 180, 43, 27, 10, 83, 164. Click images to enlarge.

Whitney Baker
Head, Conservation Services