For this Giving Tuesday, we wanted to give to our audiences some behind-the-scenes perspectives with a few of the Folger’s staff members. Learn more about how they bring their passion and expertise to making the Folger Shakespeare Library a welcoming, vibrant experience for all, and consider making a donation to support the work that they do every day. Kathryn Kenney, Book and Paper Conservator, shares about the intertwined aspects of preservation and access, the beauty of early modern paper, and ensuring the collection is maintained for generations.
Kathryn Kenney, a Book and Paper Conservator at the Folger Shakespeare Library, plays a vital role in preserving the Folger’s collection while ensuring public access. Her work is a careful balance of conservation and engagement, requiring deep knowledge of historic materials and contemporary preservation techniques.
“We look after the collection holistically, including preservation aspects,” Kathryn explains about her detailed work within the Collection Care and Development department. “We steward the collection in a way that allows for people to access it.”
One of Kathryn’s primary responsibilities is environmental monitoring, which includes meticulous control of temperature, humidity, and light levels. These elements are crucial in safeguarding delicate materials, as shifts in climate can lead to paper warping, ink fading, and the breakdown of binding materials.
In her work, Kathryn has observed the impressive durability of early modern paper, typically crafted from linen rags, which proves to be more resilient and resistant to yellowing than modern paper made from wood pulp. “Early modern paper is beautiful, and it holds up fantastically well over time,” Kathryn notes.
One of Kathryn’s recent projects involved a consultation with Sara Schliep, the Folger’s Archivist and Cataloger, and a researcher who wished to look at a series of original architectural plans for the Folger. Nearly 100 years old and drawn on transparent, architectural paper, these plans provide a fascinating glimpse into the Folger’s architectural history. Over the years, the documents had been folded and stored away, making them susceptible to breakage along the brittle fold lines. Kathryn provided customized safe handling guidelines for accessing these fragile documents. She also hopes that these plans can be digitized in anticipation of the Folger’s upcoming 100th anniversary in 2032. She recalls the thrill of seeing the building’s design conceptualized in graphite and colored pencils and the excitement it could bring to others. “They are spectacularly beautiful and detailed full-sized illustrations of some of the decorative elements of the building, such as the aluminum railing of the balconies.”
The conservation team is also actively involved in preparing materials for exhibitions, where Kathryn assesses items for safe display. She considers the structural and material vulnerabilities of each piece, ensuring that light levels are appropriately adjusted and that items are rotated to minimize exposure. The special exhibition Little Books, Big Gifts: The Artistry of Esther Inglis, currently on display through Jan 19, 2025, is a recent example. “I’m particularly proud of this exhibition of teeny, tiny books. There are mirrors to show all angles and the books are displayed on glass shelves, so there are reflective surfaces everywhere. There’s a real art to getting the lighting just right,” she explains.
The conservation case in the Folger’s ongoing “Out of the Vault” exhibition is another area of pride for Kathryn. Here, visitors can observe the stages of paper conservation and the tools and materials used for repairs, gaining insight into the painstaking work involved in conservation. She highlights the use of handmade papers, particularly East Asian papers created from kozo fibers, which are incredibly strong and thin, allowing for repairs that don’t obscure text.
Through her commitment to conservation, Kathryn ensures that the Folger’s historic materials remain both protected and accessible, balancing preservation with public engagement. “There is no access without preservation, and there’s no preservation without access,” she claims. “While most of our work is unseen, our work is really important, and even more so after the reopening. Readers are accessing these materials, they are on exhibition, and generally we are increasing access to our collections in many ways.”