The Archivist’s Nook: The Dress at the End of the Rainbow

If you were around during the Golden Age of Hollywood, you would have heard of Mercedes McCambridge. She had an Oscar winning role as Best Supporting Actress in the 1949 movie All the King’s Men. She was nominated for the same award in the 1956 film Giant. If you haven’t seen either of those classics or are more into horror, you might have heard her voice the demon Pazuzu in the 1973 film classic, The Exorcist. Indeed, she was renowned for her voice. Orson Welles, who, incidentally, addressed Catholic University’s first class of drama students in 1939, called her “the world’s greatest living radio actress.”

A Mercedes McCambridge publicity photo from the 1949 film All the King’s Men. (Photo: AP Wirephoto.)

 

 

 

 

 

 

 

 

 

McCambridge was also an artist-in-residence here at Catholic University from 1972-1973, lured, no doubt, by the University’s stellar drama program and its illustrious head, Father Gilbert Hartke (1907-1986). McCambridge once commented on Father Hartke’s sartorial tastes, which extended well beyond the Dominican robes of his order to include a silk Nehru jacket, a six foot long aviator scarf, a Russian fur hat and light blue canvas sneakers, among many other articles of clothing.

Most of these articles were gifts given to him by those who knew he loved clothing and costumes. And were it not for his extravagant tastes, we perhaps might not today have an absolutely precious piece of cinematic history: one of the dresses Judy Garland wore on the set of The Wizard of Oz. Articles in The Tower and The Washington Post allude to it, and rumors have swirled for years that Hartke had the dress, but it wasn’t until recently that Matt Ripa, Lecturer and Operations Coordinator at the Drama Department rediscovered it. I asked Mr. Ripa how he found the dress, and he responded that he too, “had heard rumors that Father Hartke was gifted Dorothy’s dress and that it was located somewhere in the building.” But “I could never get confirmation on exactly where it was located.” He explains:

I had looked in our archives, storage closets, etc. to no avail. I assumed it was a tall tale (of which many exist for Father Hartke). Our building is in the process of renovations and upgrades, so I was cleaning out my office to prepare. I noticed on top of the faculty mailboxes a trashbag and asked my co-worker to hand it to me. On the trashbag was a note for our former chair stating that he had found ‘this’ in his office and that he must have moved it when he moved out of the chair’s office… I was curious what was inside and opened the trashbag and inside was a shoebox and inside the shoe box was the dress!! I couldn’t believe it. My co-worker and I quickly grabbed some gloves and looked at the dress and took some pictures before putting it back in the box and heading over to the archives. I called one of our faculty members and former chair, who always told me the dress existed and that it was in the building to let her know that I had found it. Needless to say, I have found many interesting things in the Hartke during my time at CUA, but I think this one takes the cake.

McCambridge gave Father Gilbert Hartke one of the dresses Judy Garland wore as Dorothy in The Wizard of Oz (1939) when she was an artist in residence in the early 1970s. Though rumors of the dress have swirled for decades, the dress was only recently located by Matthew Ripa in the Drama Department. Father Hartke is pictured here with student Carol Pearson holding the dress, ca. 1975-76. There are several photos of Hartke holding the dress in the University’s Special Collections. (Photo: Special Collections, The Catholic University of America)

As archivists, we were obliged to work on gaining additional documentation for this popular culture national treasure. Objects such as this one might be forged and passed off as authentic because of their cultural and monetary value. So how do we know the dress is the real thing? We do not yet know how Mercedes McCambridge got the dress, though we do know she was a Hollywood contemporary of Judy Garland’s and that they were supposedly friends. McCambridge was friends with many luminaries in the film and radio industry. Garland had died by the time the dress went from McCambridge to Father Hartke. Moreover, we have several photos of Father Hartke holding the dress, and the abovementioned articles from The Tower and The Washington Post referencing it. So the circumstantial evidence is strong.

Dorothy’s Wizard of Oz dress in June, 2021. Judy’s name is written by hand on the inside of the dress, as the second image shows. (Photos by Shane MacDonald and Maria Mazzenga)

 

Nonetheless, we reached out to experts in cultural memorabilia at the Smithsonian’s National Museum of American History. The Museum has several artifacts from the Wizard of Oz set, including a famous pair of Dorothy’s Ruby Slippers. Curator with the Division of Cultural and Community Life, Ryan Lintelman, an expert in the Museum’s Oz memorabilia, offered a wealth of information he’s gathered on the history of the film’s Dorothy dresses. There were several of them, though it appears that five, excluding the University’s dress, have been verified as probably authentic. All of the dresses have certain verifiable characteristics: a “secret pocket” on the right side of the pinafore skirt for Dorothy’s handkerchief, “Judy Garland” written by hand in a script specific to a single person who labeled all of the extant dresses in the same hand, for example. Apparently, the thin material of the blouse was prone to tearing when Garland took it off after filming, and a seamstress often repaired it before she donned it for the next shoot. The Hartke dress has all of these characteristics, including blouse tears where the pinafore straps sat on the shoulders.

Smithsonian staff members, from left, Dawn Wallace, Sunae Park Evans, and Ryan Lintelman examine the dress, June 2021. (Photo by Maria Mazzenga)

 

 

Lintelman, along with his colleagues at the Museum, Dawn Wallace, Objects Conservator, and Sunae Park Evans, Senior Costume Conservator, paid us a visit to view the dress. Employees at the Museum are not authorized to authenticate objects like this one, but they suggested that the dress was consistent with the other objects from the film, and that the evidence around the dress was strong.

Dorothy’s Wizard of Oz dress, once the province of myth, is now a real object in the University’s Special Collections. We can now preserve it in proper storage in a temperature- and humidity-controlled environment. By the way, if any of you readers have your own story connected to this dress, drop us a line!

A scene that needs no explaining… (Photo: Silver Screen/Getty)

 

 

 

 

 

Sources:

Mary Jo Santo Pietro, Father Hartke: His Life and Legacy (Washington, D.C. The Catholic University of America Press, 2002), 201.

“Father Hartke: Kudos from the President, A Look At the Past,” The Washington Post, May 17, 1975, B1. The article alludes to “the original gingham dress that Judy Garland wore in The Wizard of Oz,” hanging in his closet.

McCambridge talks about her relationships with various Hollywood figures throughout her autobiography, and specifically mentions her residency at Catholic University in the early 1970s in her autobiography, The Quality of Mercy (New York: Times Books, 1981), see pages 107, 189 for mention of her year as artist-in-residence. See also, Richard Coe,  “Backstage And Back In Town,” The Washington Post, September 9, 1972, C9.

 

SAGE Video Collection: Trial through July 8, 2021

The University Libraries offers a trial of a rich and diverse collection of videos across the social, behavioral, and health sciences.  The SAGE Video Collection is designed to support instruction, learning, and research in colleges and universities.  The subject areas represented in this trial include business & management; counseling & psychotherapy; criminology & criminal justice; education; geography, earth & environmental science; health & social care; leadership; media & communication; nursing; politics & international relations; psychology, social work, and sociology. The videos range from documentaries to in-practice classes, interviews, tutorials, and raw observational footage.

Enjoy exploring and tell us what you think of this resource.  To get started, click here. To let us know what you liked or didn’t like, click here.

The Archivist’s Nook: Rare Book Acquisitions, 2021

Special Collections, including the Rare Books Department, like the rest of the world, is emerging from the shadow of the COVID Pandemic. Fortunately, we were able to acquire new books and related materials during the vicissitudes of 2020, which we reported on in a November blog post, and are pleased to announce further significant purchases during 2021 from reputable dealers to grow our collections.

English Recusant Prayer Book with Book of Hours, 1630. Special Collections, The Catholic University of America.

The first item is a work reflecting the response of English Catholics to persecution in their homeland. It is a English Recusant’s Prayer Book titled ‘Exercitium hebdomadarium, collectore Ioanne Wilsono sacerdote Anglo; in gratiam piorum Catholicorum’ from 1630 bound along with a Book of Hours titled ‘Officium passionis Iesu Christi ex oraculis prophetarum desumptum’ originally published in 1621. This pocket prayer book was compiled by Jesuit priest John Wilson, who managed the English College Press at St. Omer. The two books were edited by Wilson and printed in the same typographic format at Antwerp at the Plantin Press of Balthasar Moretus. Both parts include Flemish Baroque engravings in the style of Antoine Wierix, including the second part with a series of nearly a dozen scenes showing the Passion of the Christ. (1) Both editions are considered scares and this second edition was purchased from Samuel Gedge Books of England.

L’Histoire de Jansenius et de Saint-Siran, ca. 1695. Special Collections, The Catholic University of America.

The second item is a book related to the Jansenist Heresy, primarily active in France, which emphasized original sin, divine grace, and predestination.  It is titled ‘L’Histoire de Jansenius et de Saint-Siran’ and was published in Brussels, ca. 1695, anonymously, due to its scurrilous content regarding an imaginary dialogue between Cornelius Jansen and the Abbe de Saint-Cyran in a supposed conference about 1620 at the Bourgfontaine Monastery with a plot to overthrow the established church. The latter had introduced Jansen’s doctrine into France, in particular among the nuns of Port-Royal. This rare sole edition is 192 pages, bound in contemporary calf, with the joints and spine a little chipped. It also has a stamp on the blank flyleaf of an English boarding school of St. Edmund’s College, Ware, and was purchased by Catholic U. from Inlibris of Vienna (2).

Calendario Dispuesto por Don Mariano Joseph de Zuniga…1814, Special Collection, The Catholic University of America.

The third item is as much artifact as publication and a unique addition to our materials related to Latin America titled ‘Calendario Dispuesto por Don Mariano Joseph de Zuniga y Ontiveros Agrimensor por S. M. (Q. D. G.) Para el Ano del Senor de 1815 Los Seis Meses Primeros.’ It is the only edition of an 1815 colonial Mexican sheet almanac by Mariana Jose de Zuniga y Ontiveros, published in 1814 in Mexico City the last of the pre-Independence Zuniga dynasty of Mexican printers. The almanac records eclipses and other celestial events, lunar phases, meteorological predictions, astrological data, feast days, and key moments in the Catholic calendar. It is printed in seven columns within a typographic border on each side and includes small woodcuts of the Virgin of Guadeloupe and San Felipe de Jesús. Similar to European almanacs, Mexican almanacs were printed in the months preceding the forthcoming year. Zúñiga was a mathematician, land surveyor, and member of the Royal Board of Charity of Mexico. The only other year of this type of sheet or series is the 1805 edition held at the University of Texas at Sah Antonio. (3) The Catholic University almanac was purchased from William Cotter Books of Austin, Texas.

Manuscript Sermon by the Minister of Trinity Church, San Francisco, 1856. Special Collections, The Catholic University of America.

The final item is a significant addition to our growing body of Anti-Catholic materials and is titled a ‘Manuscript Sermon Preached by the Minister of Trinity Church in San Francisco in 1856 on Hebrews XIII:  “We have an Altar whereof they have no right to eat those who serve the Tabernacle.”’ It is a firebrand sermon preached in 1856 in San Francisco at the Trinity Episcopal Church by the Reverend Stephen Chipman Thrall. He was the third rector of Trinity Church, 1856-1862, and the biblical text is the stimulus for his assault on what he considered the blasphemous dogma of the Roman Catholic Church (4).  It is a nineteen page, 8 ½ by 13 ½ inch, ink manuscript on blank versos of forms from the Custom House Collector’s Office, written in a contemporary hand and purchased from David Lessor Books of Connecticut.

These four new acquisitions, covering three continents and three centuries, are a further enhancement to the diverse Special Collections at Catholic University. We hope to post further updates regarding acquisitions as well as conservation work before the end of 2021. Please contact us with any questions.

(1) Samuel Gedge Ltd, Norwich, England, Catalog 30, 2020, p. 23.

(2) Thanks to David Rueger of Antiquariat Inlibris.

(3) William S. Cotter Rare Books at https://www.wscotterrarebooks.com/

(4) California Historical Society Quarterly, Sep., 1955, Vol. 34, No. 3 (Sep., 1955), pp. 231-237.

(5) Special thanks to STM and BM for their assistance.

OLL Blog – Reflections on my first semester as OLL Copy-Cataloger – Erin Mir-Aliyev

This Spring semester has been challenging in many ways that we could not have anticipated when 2020 started. The changes have been immense.  Nevertheless, as a community we grew stronger together, adapting, facing and overcoming new obstacles in order to provide our students with the best of us. As we reach the end of the term and reflect on what we have done, I invited our graduate research assistant at The Oliveira Lima Library, Erin Mir-Aliyev, to share her thoughts on her experience . 

Erin is a graduate student in the Library and Information Science Department at The Catholic University of America and the first recipient of the Flora de Oliveira Lima Fellowship for Graduate Students in Library and Information Science. The fellowship honors Manoel de Oliveira Lima’s wife, a bibliophile in her own right who took charge of the library after his passing and left an unequivocal imprint on it. 

 Reflections on my first semester as OLL Copy-Cataloger

Erin Mir-Aliyev  

Master of Science in Library and Information Science – The Catholic University of America

Flora de Oliveira Lima Fellowship for Graduate Students in Library and Information Science – The Oliveira Lima Library

OLL books waiting for their catalog record to be found in OCLC.

Working as a graduate research assistant for the Oliveira Lima Library this spring has been a rewarding experience. Not only have I started to apply first hand in my work what I have been learning in my classes; I have gotten to work in a special collection focusing largely on resources containing information about history and culture, something that allows me to incorporate my social sciences interests and undergraduate degree in anthropology into my library career.

There were many different tools and software programs I’d heard about in my Fall classes, but not having worked in a library since high school, I was not in a position in which I got the chance to use them. As a visual and tactile learner, I was concerned that I was not truly grasping what was being taught. Since beginning to assist the Oliveira Lima Library with processing its collection late last Fall, I have noticed there are three areas in particular where I have learned a lot already and begun to grow more confident: accessing and using OCLC Connexion and Alma, and understanding MARC21.

OCLC Connexion

OCLC is a global library cooperative which provides a tool, OCLC Connexion, through which libraries can create and share their bibliographic records with other libraries. It allows copy-catalogers to find already-existing bibliographic records for their collection’s materials so that librarians don’t have to repeat work that has already been done. Before shadowing a cataloger, I had not realized how long creating one bibliographic record from scratch can take – often over an hour per record. OCLC Connexion has made it possible for me to discover and import into Alma bibliographic records for about 500 books since January, some of which are not very common. As a result, we have been much more efficient than we otherwise would have been at incorporating materials into the library. Going through this process has also allowed me to better understand which elements of a record are the most important for identifying it.

Alma

Alma is a cloud-based platform that allows libraries to manage their catalog by importing and editing bibliographic records found in OCLC. So far, I have completed this process for hundreds of books, as well as creating holding and item records for them. My understanding of the differences between a work, expression, manifestation, and item (as expressed by FRBR) has increased greatly as a result of going through this process. These differences are reflected in the differences between bibliographic, holding, and item records for a specific book. 

MARC

MARC21 is a set of international standards for digital formatting of intellectual and physical traits of bibliographic materials, in my case, books. It struck me as very complicated and difficult to understand while in class, and I have been slowly memorizing the various field codes and formats for descriptions. Copy-cataloging for OLL is a more detail-oriented process than for a lot of collections due to the rare and unique nature of many of its materials, as individual books often contain inscriptions, signatures, or other markings and materials left by people significant to the history of the collection. The MARC fields most significant for cataloging of OLL resources are some fields also commonly used by general collections such as 100 (Main Entry – Personal Name), 245 (Title Statement), and 260 (Publication Information). However, culturally, historically, or biographically important information also needs to be included in the record; other fields like 561 (Ownership and Custodial History), 562 (Copy and Version Identification), and 590 (Local Note) focus on books’ rare and unique traits. This is where I am able to record details about who or what institution previously owned a book, or autographs and bound-in items like letters.

Detail of a book with the OLL stamp.
Example of a book inscribed by Brazilian poet Vinicius de Moraes to OLL’s former Curator Manoel Cardozo in 1963.

As I continue to work into the next semesters, I look forward to being able to learn even more, such as copy-cataloging for books written in other languages, how to classify and manage archival materials, and how to handle, categorize, and catalog artworks.

Database Trial thru 10/25: Access World News

From 9/16/2019 – 10/25/19, the University Libraries has arranged trial access to Access World NewsAccess World News consolidates current and archived information from newspaper titles, as well as newswires, web editions, blogs, videos, broadcast transcripts, business journals, periodicals, government documents and other publications. The database covers more than four decades of information. With easy-to-use, customizable search features, Access World News provides full-text information and perspectives from 4,000 domestic and over 6,000 international news sources, each with its own distinctive focus offering diverse viewpoints on local, regional and world issues. Date coverage varies with individual newspaper. Access Business is a shortcut to the wealth of business information in the database.

The University Libraries may consider this subscription in the future and we welcome your feedback.  Click here and tell us what you think about this database.  Thank you!

Communication Source: Free Trial of Database

Until May 1,  CUA Libraries has a free trial to the database Communication Source. The database offers abstracts and indexing as well as full-text content from publications worldwide pertaining to communication, linguistics, rhetoric and discourse, speech-language pathology, media studies and related fields. Back file coverage includes top titles in communication reaching deep into the 20th century.

Librarians are evaluating the usefulness of this resource. Try it out and let us know what you think.  Email your comments to Meghan Gates, Subject Librarian for Media Studies: gates@cua.edu