Guest blogger, Jisoo Ahn, is a Graduate Library Pre-Professional (GLP) working with CUA Special Collections.

In the Aquinas basement lies a space that Special Collections affectionately refers to as the “Stacks”. Behind an unremarkable door is where we house a significant portion of our archival materials related to American Catholicism and CatholicU history. Our staff, along with a rotating cast of student workers and practicum students, frequent this area throughout the year.

Stacks Rule #1: No food or drinks in the Stacks. It’s crucial to remember that food and drinks—even water—are strictly prohibited in the Stacks. Given the delicate nature of our materials, this rule is essential to preserving the collections for future generations. 

Our Stacks are split into two large rooms: the Blue Room and the Red Room. Our University Archivist, William John Shepherd, named them for the color of the paper on the aisles. We like to keep things as simple as possible around here.

 

 

 

 

 

 

 

As the Graduate Library Preprofessional (GLP) of this office, I spend most of my days immersed in the Stacks. Processing collections and creating finding aids for future researchers is a big part of my role. With fluorescent lights as my primary source of Vitamin D, the Stacks can be a rather dreary environment. I felt compelled to inject some life into the space, not just for myself but also for our dedicated student workers and practicum students. And so, with careful curation, two gallery walls came to life.

The Blue Room’s gallery wall showcases a compelling juxtaposition of our collection’s old and new. I wanted this gallery wall to reflect the breadth of our holdings, so I divided the space into two sections: the right side for the older styles, and the left for the new style. This contrast is evident in the selection of Madonna and Child paintings, each offering a distinct artistic interpretation of this timeless subject.

Starting from the far left, we have a trio of artworks showcasing historic CatholicU campus buildings. To further emphasize the university’s rich history, we’ve included a framed reproduction of a map from November 25, 1895, depicting the area north of campus. This map features Fort Totten and Fort Slemmer, with the latter holding particular historical significance as a Civil War fort, one of 68, defending Washington, D.C. from Confederate forces.

The blue Madonna and Child is a geometric abstract piece by Angela Rooney. Interestingly, Angela’s husband, CUA alumnus Thomas Rooney (1924-2018), was also a renowned sculptor. Following his passing, Angela generously donated a portion of their art collection to our archives.

Right next to that, a circular Madonna and Child, is estimated to be between 200 and 400 years old based on our records. Beyond that, not much else is known. Currently, our office is collaborating with Dr. Christopher Daly, a David E. Finley Fellow at the National Gallery of Art’s Center for Advanced Study in the Visual Arts. Dr. Daly is investigating the painting’s origins. And suggests that the painting might be from the Melzi collection of Milan, based on a 1951 auction catalog. This intriguing possibility hints at a Renaissance masterpiece. However, this claim remains unconfirmed as the art historical investigation is ongoing. 

Interestingly, Dr. Daley has pointed out a historical inaccuracy. The auction catalog mistakenly identified the small figure on the left as Saint Catherine. It’s actually a depiction of the young Saint John the Baptist.

To the right of the circular Madonna and Child hang two oil portraits of young children, attributed to artists in the Durward family. Known for their distinctive styles in still lifes, portraits, and religious paintings, these charming works are believed to depict the artists’ family members.

Handwritten notes on the back of each portrait support this theory. The upper painting is inscribed, “A painting of Mary Thekla Durward (the only child born at the Glen). Painted about 1876.” The portrait below features a young blonde girl with the inscription, “M. Thecla C. Durward, Aged 16, BID pin x. 1880.”

Our collection boasts nearly 40 Durward paintings, including four that were returned to us in 2021 after an extended loan to the Museum of Wisconsin Art. More information about the Durward family can be found here.

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The Red Room, home to the GLP’s workstation, houses a captivating collection of 14 etchings from the “Romeo and Juliet Suite”. Printed in three distinct color palettes and containing strong elements of both Surrealism and Primitivism, these works are attributed to 20th century Hungarian-born artist Adám Würtz (1927-1994). 

A graduate of Budapest’s Academy of Fine Arts, Würtz has exhibited internationally, including in Hungary, Japan, Russia, Romania, Vienna, and the United States. His original works are held in numerous public and private collections across the globe. It rotates frequently, but my current favorite of this series is the tenth print.

Near our bustling scanner station, where much of our digitization takes place, hangs an official Valamaster replica of a Gaspare Vanvitelli (1653-1736) masterpiece.

Gaspar van Wittel, the Dutch master better known as Gaspare Vanvitelli in Italy, is acclaimed for his groundbreaking work in veduta painting. His profound influence is evident in the art of subsequent generations, notably Canaletto.

A pioneer of the topographical painting genre known as veduta, Vanvitelli, often dubbed “Gaspar with the spectacles,” elevated the style to new heights. Our replica, “Il Bacino di San Marco con il Molo a la Piazzetta” (The San Marco Basin with the Pier and the Piazzetta), captures a stunning Venetian scene. This particular piece is part of the archive’s Magner collection.

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