RBSC News & Info – Page 14

Great Expectations for 2021

Happy New Year!

We look forward to working with students, faculty and other scholars in 2021, and we look forward to a time when visitors may wander in on a whim rather than by appointment.

Our new year’s resolutions include making more of our collections accessible digitally as well as adding finding aids to the Archivesspace tool, making it easier to learn about manuscript and other collections from afar.

Easter 1916: The Irish Rebellion — only one of a number of digital exhibits that curators plan to complete in the coming year.

Curators will continue their plans for this year’s exhibits, and we hope that later in the spring it will be possible to visit and enjoy the suffrage exhibition, “Men and women should stand as equals: American Women and the Vote”.

But for the moment and for the foreseeable future, we have the same protective conditions in place that we had in the fall semester.

The Hesburgh Library remains open to current students, faculty and staff of Notre Dame, St. Mary’s and Holy Cross College. Please see the Hesburgh Libraries Service Continuity Page for up-to-date information on access and hours.

Members of these communities may request appointments to access Rare Books & Special Collections materials. Please email Rare Books & Special Collections for research and course support or to make an appointment. Research requests by non-ND-affiliates are evaluated on a case-by-case basis, per the University’s Campus Visitors Policy.

Visit the Hesburgh Libraries Service Continuity webpage for up-to-date information about how to access expertise, resources, services and spaces.

We are happy to work with students and faculty to find solutions to access problems during this pandemic.

Happy Holidays from Special Collections!

Rare Books and Special Collections is open by appointment only through this Friday (December 18, 2020). After that, we will be closed for the Christmas and New Year’s Break (December 19, 2020 through January 5, 2021).

Special Collections will reopen on Wednesday, January 6, 2021, again by appointment only. Visit the Hesburgh Libraries Service Continuity webpage for the most up-to-date information about both the Libraries in general and Special Collections in particular.

This is the last blog post for 2020. Happy holidays to you and yours from Notre Dame’s Rare Books and Special Collections!

Daily Purchases for a Famine Soup Kitchen

by Aedín Ní Bhróithe Clements, Irish Studies Librarian

Ireland’s Great Famine began in 1845 when the potato crop, the main food of much of the population, was destroyed by a potato blight. This blight recurred in the following years, leading to the deaths of over a million people. With the emigration of up to another million people, Ireland lost almost a quarter of its population.

Among the vast range of books and other materials our library has to help us study the Famine, there are a couple of rare or unique items. Such items give insight into various aspects of people and communities. One such item is the notebook shown here, the accounts of a soup kitchen, one of the many set up to give relief during the Famine.

This is the daybook, or notebook, listing all the receipts and expenditures for Drumbo Soup Kitchen from December 1846 to March 1848, accompanied by a sheet of tickets for Drumbo Soup Kitchen (MSE/IR 0100). Of the various places of that name, this is most likely Drumbo, County Down. This has not yet been verified. It was acquired by the Library in 2012.

The expenditure gives us an idea of the ingredients. In January 1st, 1846, purchases included cayenne pepper, black pepper, split peas, whole peas, barley, beef, cow’s head and carrots.

The 32-page notebook includes the names and amounts of cash subscriptions, and the notebook bears the treasurer’s name — “Dr. James Orr, Treasurer to the Drumbo Soup Kitchen.”

Along with the notebook is a sheet of printed tickets with the following text: “Drumbo: Soup Kitchen: One Ration. Paid, One Penny.”

archivespace.library.nd.edu/repositories/3/resources/2026

40th Anniversary of the Polish Solidarity

by Natasha Lyandres, Head of Special Collections and Curator, Russian and East European Collections

Forty years ago Solidarity (Solidarność) was born in Poland. It became the first Soviet bloc’s independent self-governing trade union and the seat of Polish opposition during the 1980s.

The Hesburgh Libraries recently acquired a Solidarity ephemera collection (MSE/REE 0041) documenting a wide range of activities carried out by Solidarity leaders and supporters. The represented materials include samizdat (unofficial self-published and distributed) books, posters, broadsides, and handbills. For the most part, these were produced in response to specific events, often by hand on poor quality paper, and circulated in small quantities at great risk to their authors, distributors, and readers. The collection captures such inherent qualities of the Solidarity movement as spontaneity, commitment to democratic values, and sacrifices of the Polish people in their struggle for civic and political freedoms.

Owsiński, J. M., Fedorowicz, Jacek, Starzyński, Wojciech, & Witwicki, Andrzej. (1984). *Solidarność : 500 pierwszych dni*.

This popular samizdat comic book tells the story of the Solidarity’s first 500 days beginning with a peaceful strike at the Lenin Shipyard in Gdansk in August 1980 and ending with the tragic events of December 1981, when the Polish government declared Martial Law and arrested many of its leaders and supporters. The movement continued underground until the fall of the communist regime in 1989.

The authors claim that all dialogues in the book represent fragments of actual conversations and speeches. On page 8, the book features events from “difficult January 1981”. Included here is an image of Pope John Paul II, with words of encouragement and support to the Solidarity members, following his meeting with the Solidarity leader Lech Wałęsa in Rome on January 15, 1981.

Photograph of the Solidarity leader Lech Wałęsa (on the right) with two Solidarity Catholic priests, Father Jerzy Popiełuszko (in the middle) and Father Henryk Jankowski (on the left), November 1980.

Markowski, S., Bujak, Adam, & Szot, Jerzy. (1984). *Wystawa fotografii pt. “Księdzu Jerzemu” : Mistrzejowice XI-XII 1984 rok. S.n.*

This self-published booklet reproduces photographs by Adam Bujak, Stanisław Markowski, Andrzej Stawiarski, and Jerzy Szot depicting the funeral and protest marches following the murder of the Solidarity priest Father Jerzy Popiełuszko (1947-1984). He was kidnapped and savagely murdered by agents of the Polish Security Service, and has since been recognized a martyr by the Catholic Church. The booklet also reproduces Pope John Paul II’s words on the death of Fr. Popiełuszko.

This small hand-made handbill (7 x10 cm) features an image of the popular Solidarity leader Lech Wałęsa with an anchor as a symbol of strength, and the word razem (“together”). 1980.

This small hand-made handbill (10 X 14 cm) is one of the earliest versions of the Solidarity logo with a national red and white Polish flag on the letter “N”, denoting “national” unity. Designed by artist Jerzy Janiszewski in August 1980, the Solidarity logo was quickly adopted by the movement members and sympathizers and used on banners, posters, handbills, and graffiti during demonstrations, strikes, and protests. The logo became a powerful symbol of the Solidarity movement. 1980.

These small samizdat handbills (7 x 10 cm) were published and distributed by Solidarity with calls for boycotting (“not to vote” in) communist elections. Elections in communist Poland were undemocratic and manipulated by the ruling totalitarian government. Circa 1980.

Happy Thanksgiving to All Our Readers

by Rachel Bohlmann, American History Librarian and Curator

Americans might be seeing fewer turkeys on their tables this Thanksgiving, due to the demands of social distancing during the pandemic. No matter what holiday fare you get to enjoy this year, we offer a reminder of our unofficial national bird. This illustration of wild turkeys comes from American Ornithology; or, The Natural History of Birds Inhabiting the United States, Not Given by Wilson, a four-volume work by French scientist and ornithologist Charles Lucien Bonaparte (1803-1857). He worked on the project while he lived in the United States in the 1820s and it was published between 1825 and 1833.

An armchair ornithologist, the aristocratic Bonaparte did not do fieldwork himself, as this print shows. It was engraved by Alexander Lawson (1773-1846) from an illustration “Drawn from Nature” by Titian R. Peale (1799-1885). Bonaparte’s strengths lay in his abilities to classify and name birds, and he directed his talent to supplementing work by an earlier ornithologist, Alexander Wilson (1766-1813), whom Bonaparte referenced in his title.

Rare Books and Special Collections holds only the plates from Bonaparte’s multi-volume work; it is part of the library’s history of science collection and complements our Edward Lee Greene collection on the history of botany.

Notre Dame’s fall semester concluded on November 20, 2020, but the campus remains open during the much of the Winter Session (November 21, 2020 – February 2, 2021). Rare Books and Special Collections will be CLOSED on the following dates:

November 25-29 (Thanksgiving Holiday)
December 19-January 5 (Winter Break)

Our health and safety protocols continue to include limiting our building population to those people essential to the teaching and research of our current students and faculty. To that effect, we are not encouraging visitors or patrons who are not current, active members of Notre Dame, Saint Mary’s and Holy Cross College communities.

Visit our Hesburgh Libraries Service Continuity webpage for up-to-date information about how to access expertise, resources, services and spaces.

Poetry, Art, and Plastic: The Imprints of Ediciones Arroyo

by Erika Hosselkus, Curator, Latin American Collections

Over the past two years, Rare Books and Special Collections has acquired a series of unique chapbooks produced by Ediciones Arroyo, a small and specialized press located in the town of Arroyo Leyes, Argentina. An exciting addition to our collections, each “book” is small and lightweight, bound in black recycled plastic, and features the work of a contemporary poet from Argentina or elsewhere in South America.

Ediciones Arroyo is the brainchild of Alejandra Bosch, founder and owner of the press and a writer in her own right. A proponent of a thriving literary community and an advocate for recycling, Alejandra pursues these dual interests in the creation of her books. Each one includes between two and ten poems by a single poet. A short biography and whimsical illustrations, often by Julián Bosch, Alejandra’s son and collaborator, accompany the text.

The book covers are aesthetically bold, each bearing the name of its poet in bright, colorful letters. The black plastic that once packaged milk – something that might otherwise be considered garbage – is cleaned, cut and sewn by Bosch, to create artistic editions of a roughly uniform size.

Inside, readers find new, previously unpublished pieces, often by young, up-and-coming poets of diverse backgrounds. These imprints, coupled with literary festivals that Alejandra sponsors and organizes, offer support and a creative space for writers.

RBSC’s collection of Ediciones Arroyo imprints currently includes more than 100 editions and is growing. We are proud to be the first North American institution to collect Ediciones Arroyo and to serve as a repository for the poetry of a dynamic group of South American writers.

I recently asked Alejandra what it means to her to see her work, and the work of so many contemporary Argentine poets, here at Notre Dame. She expressed pride and also enthusiasm for the idea that young people here in the U.S., linguistically and culturally distant from Argentina, are now able to read these poems as they learn Spanish. “For me as a writer, it is fabulous, also, that these poets are in the university, when we trained by reading and translating the great North American poets. It is beautiful,” she said. Julián, a tattoo artist and poet as well as illustrator for Ediciones Arroyo, is also motivated by the idea that others are reading the poetry that he and others have worked so hard to create and disseminate. This contact with Notre Dame, “makes me want to forge ahead, beyond this pandemic year and all of the negative,” he states.

Ediciones Arroyo began in 2016, with 9 poets. Today, the press’s catalog includes more than 80 poets, “and they’ve all traveled to Indiana!,” Alejandra notes. Alejandra and Julián have recently begun working on bilingual editions with a number of Brazilian authors. They both aspire to bring their work, and the contemporary poetry of South America, to other university libraries in the near future.

Recent Acquisition: Early Book on Women Religious Leaders

by Alan Krieger, Theology and Philosophy Librarian

The Hesburgh Libraries has recently acquired a very rare illustrated volume entitled Images des fondatrices, reformatrices ou principales religieuses de tous les ordres de l’eglise (Paris, 1639). It features engraved portraits of 88 female founders of religious orders by the artist Michel van Lochom, an Antwerp native.

Illustrated and typographical title pages from *Images des fondatrices* (1639).

The collection includes portraits of such famous women as St. Scholastica, St. Catherine of Siena, and St. Teresa of Avila; among those also portrayed is St. Jane Frances de Chantal, whose spiritual director was St. Francis de Sales and who was still living when the book went to press. The fact that the women are often depicted with items and clothing appropriate to their role in the history of spirituality is of particular interest.

While the engraved plates include captions in Latin, the Table of Contents (Table des Image contenues au present Livre) for the book lists each women with a description in French. Here, as a comparison, are the first page of the Table and the first illustration of Mary, Mother of God, and “Founder of all Women Religious” (Fondatrice de toutes les Religieuses).

Table of Contents from *Images des fondatrices*, with descriptions of each plate in French.

We have verified only three other copies of this title among North American library holdings.

Teaching During COVID

Last week, a group of librarians participated in a large history class on Global Catholicism taught by Professor John McGreevy. Ideally, the fifty-five students would have visited the Special Collections and seen artifacts relating to different aspects of Catholic history throughout the world.

This year, students assembled on Zoom, and our preparation for the class included making digital images or identifying online digital surrogates. We also organized our selection of artifacts in an online library guide so that students could explore at their own pace. Each student is expected to write about one of these items.

Some items in our selection were already available digitally in different platforms.

For examile, our digital exhibition, “Preserving the Steadfastness of Your Faith”: Catholics in the Early American Republic, allows readers to explore American Catholic history.

*“Preserving the Steadfastness of Your Faith”: Catholics in the Early American Republic.* Digital Exhibition, Hesburgh Libraries.

The Flood Destroyed the World.
*Chinese Catholic-themed Paintings from Xinxiang, Henan Province (1939-1941)*

In the case of the Chinese Catholic posters, Hye-jin Juhn complemented the digital exhibit of our own collection with a link to a digital collection at another library.

In some cases, we identified another copy on a platform such as Hathi Trust or the Internet Archive.

In presenting to the class, we assembled on zoom and each shared a screen and introduced our selections to an attentive class. While students missed the opportunity to see the physical items, as compensation, all fifty-five students could simultaneously view each item without peering over one another’s shoulders.

In other adventures in the online world, Rachel Bohlmann and Erika Hosselkus offered a workshop for students working on primary source-based projects through the Nanovic Institute. Five of the six people who registered were graduate students. This is one indication of an increased interest among our young scholars in finding primary sources online.

Teaching during COVID has meant an understandable and practical focus on finding primary sources online. I’ve appreciated having to double down on primary source databases and realize that we’ve all probably taken them for granted more than a little. Still, while this is in general a fine reminder of how far online primary source databases have come in the last decades, I miss using physical collections in my library classes, and getting students excited about examining a source right in front of them.

One theme I’ve noticed is that I think students and faculty are certainly more interested in hearing about online resources. I feel a slight shift toward more attention, especially to hearing about how to do more than just basic keyword searches.
– Rachel Bohlmann, American History and American Studies Librarian

Besides our adventures in screen-sharing, Monica Moore bravely taught an online class where she staged a selection of rare French books in our seminar room, speaking, showing books and turning pages beneath an overhead camera, all on Zoom — a kind of double-level filmed class. This was the closest simulation we have tried so far of a physical class in which students and librarian interact with the materials.

Frank Duff. *Edel Quinn*. This is an example of a Catholic pamhlet in our collection of Irish Pamphlets, where we identified a surrogate on the Internet Archive.

From our experiences, we have learned that once we understand what a professor hopes to gain by introducing students to our special collections, we can work together to develop a successful, and dare we say stimulating, class.

Recent Acquisition: A Leaf from the Bohun Family Bible

by David T. Gura, Ph.D., Curator, Ancient and Medieval Manuscripts

This leaf comes from an enormous Bible (447 x 278 mm) produced as a four-volume set in England ca. 1350. A narrower localization to the region of East Anglia is possible. Decoration and chiefly the illuminated miniatures forge a connection to the ‘Bohun group’ of manuscripts, which includes Psalters, Books of Hours, and other books owned by the Bohun family. The Bohuns were the earls of Hereford and their estates in East Anglia were tied to the royal court, so much that their final heiress, Mary, was the wife of Henry IV and mother of Henry V. This particular Bible in its entirety was perhaps commissioned by Edward III’s eldest son, the so-called ‘Black Prince’ (1330-1376).

The earliest provenance of the Bible is to the West in Cheshire, perhaps the Carmelite house in Chester. This Carmelite connection is reinforced by a historiated initial in the Bible which depicts a Carmelite friar. Likewise, the Carmelite house in Chester was endowed by none other than the Black Prince himself in 1353-1358. The manuscript circulated amongst a number of seventeenth century owners as a large number of leaves was already missing by 1678. Beginning in 1927, biblioclasty prevailed over the manuscript’s centuries of resilience. The Bohuns’ Bible was dismembered on Bond Street, London at the hands of Myers & Company and leaves were sold individually.

The story of this illustrious manuscript is the result of Christopher de Hamel’s research. He alone deduced the Bible’s provenance and identified hundreds of extant leaves scattered throughout the world from Chicago to Tokyo to New Zealand.

Bibliography

Christopher de Hamel, ‘The Bohun Bible Leaves,’ Script & Print 32:1 (2008): 49-63.

Lucy Freeman Sandler, Gothic Manuscripts 1285-1385, 2 vols. London, 1986.

Lucy Freeman Sandler, Illuminators and Patrons in Fourteenth-Century England: The Psalter and Hours of Humphrey de Bohun and the Manuscripts of the Bohun Family. Toronto, 2014.

National Hispanic Heritage Month 2020

We join the Library of Congress, National Archives and Records Administration, National Endowment for the Humanities, National Gallery of Art, National Park Service, Smithsonian Institution, and United States Holocaust Memorial Museum in celebrating National Hispanic Heritage Month.

The Woodcuts of Consuelo Gotay

by Erika Hosselkus, Curator, Latin American Collections

In honor of Hispanic Heritage Month, we feature the work of Puerto Rican printmaker, Consuelo Gotay. Educated in Puerto Rico and at Columbia University in New York, Gotay’s woodcuts are striking and reflect her early association with the workshop of iconic Puerto Rican printmaker, Lorenzo Homar. Rare Books and Special Collections holds five artist books that pair Gotay’s images with the poetry and prose of major Caribbean writers.

Today, we share three of these collaborations, Selección de textos del cuaderno de un retorno al pais natal (1993), Salmos del cuerpo ardiente (2006), and Las brujas (2014).

The first and earliest of these is a selection of texts (presented in Spanish and French) from Afro-Caribbean poet, Aime Cesaire’s, Cahier d’un retour au pays natal (Journal of a Return to My Native Land), originally published in 1939. If Cesaire’s poem is known for its exploration of Caribbean identities, particularly negritude, Gotay’s woodcuts illustrating the work are a sort of homage to the region’s natural beauty. Pleasing prints of ocean, swaying palm trees, and picturesque villages are interleaved with text.

The second, Salmos del cuerpo ardiente, features text by Puerto Rican writer, Lourdes Vázquez, and ten original woodcuts by Gotay. Vázquez’s “psalms” point to harsh realities of life in Puerto Rico in the first decade of the twenty-first century, particularly violence and addiction among young people. A fitting and somber complement, one of Gotay’s woodcuts here is an elegy to those tortured and killed when violence reaches its pinnacle.

In Vázquez’s words,

LA TORTURA
Es como un BOXEADOR COMATOSO,
Un mero asunto familiar,
Un maleficio inexplicable.

The third and most recent of these works, Las brujas, is both a children’s story and a metaphoric lament for the youth of Puerto Rico who become involved in drug violence, by Puerto Rican writer, Edgardo Rodríguez Juliá. Gotay’s prints here combine the visual elements and the themes that appear in the earlier works. Palm trees frame the small house of the story’s good bruja (“witch”), Nina, in a manner reminiscent of her Cesaire portfolio. Los muchachos, on the other hand, are a reminder of the struggling youth portrayed in Salmos del cuerpo ardiente.

Each of these titles is a limited edition. Together they reflect the engaging and thought-provoking artistic output of a talented Puerto Rican printmaker.

Category: RBSC News & Info