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Fans donate $30,000 to preserve "Gone With The Wind" dresses

By Margaret Rine

Film Curator Steve Wilson and Jill Morena, Collection Assistant for Costumes and Personal Effects, with the original curtain dress from ‘Gone With The Wind.’
Film Curator Steve Wilson and Jill Morena, Collection Assistant for Costumes and Personal Effects, with the original curtain dress from ‘Gone With The Wind.’

Thanks to the generous donations of more than 600 supporters from around the world, the Ransom Center is delighted to announce that the fundraising goal to preserve the Gone With The Wind costumes has been reached. From Alaska to Florida, from Australia to Ireland, the response to this project has been enthusiastic and widespread. Although we knew there were legions of devoted Gone With The Wind fans, the overwhelming concern and support for these costumes provides tangible evidence of the power of movies to strike a deep and lasting chord in our collective consciousness. We deeply appreciate the many calls, letters, and emails, which further bolster our commitment to ensuring that the costumes from the David O. Selznick collection will be preserved for future generations to enjoy.

As Gone With The Wind costume designer Walter Plunkett had remarked, “I don’t think it was my best work or even the biggest thing I did… But that picture, of course, will go on forever, and that green dress, because it makes a story point, is probably the most famous costume in the history of motion pictures.”

To those of you who contributed to the project, thank you for helping to preserve these iconic Hollywood treasures. We look forward to seeing you at our exhibition in 2014 celebrating the 75th anniversary of Gone With The Wind.

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‘Every now and then you have to think outside the box’

By Elana Estrin

Preservation Housings Manager Apryl Voskamp spends a lot of her time at the Ransom Center making boxes. Yet, she says, “every now and then you have to think outside the box.”

That’s because the preservation lab is responsible for housing every type of item in the Ransom Center’s collections: from Lewis Carroll’s photo album to Ezra Pound’s chess set.

“Every single box in the lab is custom-made,” Voskamp says. “Every housing has to fit the unique object stored inside. We take three measurements for every item: length, width, and thickness. Then we look at what material the item is made of. That way I can figure out what other materials can be housed with it, like tissue, felt, or other kinds of non-abrasive materials to cushion or pad the items.”

The preservation lab has compiled a binder full of templates for common housings such as boxes for books, custom-made folders, and more. But some items are so unique that the preservation team has to come up with entirely new and innovative designs.

For example, the preservation team is currently devising housing for a wicker form in the colleciton. The two-piece form is too tall and fragile to be stored in one piece, so the top and bottom halves will be stored separately. The top half currently lies in a box, and the legs greet visitors to the preservation lab.

“The top half is most stable lying down. I put some batting inside the housing and wrapped simple, muslin, non-bleached cloth around the batting so it has a little pillow for support,” Voskamp says. “We realized that the bottom half would be most stable standing up. Because of the angle of her legs, it tends to roll to one side if you lay it down. We’ll make some sort of support structure for the bottom half.”

One challenge of housing the wicker form is that it’s spray-painted gold.

“The gold pigment is probably a mixture of copper and zinc, which can react adversely with the acetic acid in some adhesives commonly used in boxmaking,” Voskamp notes. “In this case, we would prefer to use water-based chemicals.”

Voskamp had to think creatively when she was asked to store Arthur Conan Doyle’s golf clubs and golf bag. She devised a box that was anything but elementary.

“I put the clubs in the bottom of a box and used foam supports to stabilize them and then hollowed out grooves that he clubs could fit into that would support them. Then there was a shelf above the clubs that the golf bag would sit on. The leather was deteriorating, so we wrapped the shelf with non-abrasive material. Then we gently stuffed the golf bag full of tissue paper to hold its shape,” Voskamp says.

Robert De Niro’s collection, which the Ransom Center acquired in 2006, kept the preservation lab busy devising new housings for swords, a machete, baseball bats, suitcases, and a plaster facial cast from Frankenstein (1994), to name a few. For Voskamp, one highlight was De Niro’s tackle box full of makeup from when he was first starting his career as an actor.

“It was one of the last things he gave us because he wanted to hold onto it. That was special because it was his, it wasn’t a prop,” Voskamp says.

While planning how to house the tackle box, Voskamp faced an unusual challenge: after years storing bottles of adhesive and makeup, the box had started to smell.

“I was fortunate because when it came in, someone who worked specifically with film props was visiting the department. It was incredible timing that we had the perfect person to consult,” Voskamp says. “He was really excited. His reaction was, ‘Wow, this is great! What’s in here?’ We talked about what he would do about the smell, and he encouraged me to make a ‘breathable’ box.”

The sides aren’t completely sealed, which promotes air circulation. But the housing still protects the tackle box from light and dust, which Voskamp says is always her number one concern.

“If you create an isolated and somewhat air-tight environment, you can possibly do harm to the object inside. It could become a problem. It was really important to get air exchange into the enclosure and let those potentially harmful chemicals diffuse, or ‘breathe.’ Eventually whatever reaction is going on inside will slow,” Voskamp says.

In the end, the preservation lab’s boxes are essential to the items they’re housing. Without the proper box, Gloria Swanson’s sunglasses, Ernest Hemingway’s manuscripts and coin collection, and Queen Elizabeth I’s wax seal would be lost to the ages.

 

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Become a member to enjoy access to exclusive events this fall

By Christine Lee

Click on image for more details about 'A Picture Perfect Evening'
Click on image for more details about 'A Picture Perfect Evening'
Members of the Harry Ransom Center enjoy insider access and behind-the-scenes glimpses of the cultural wonders we keep secure for the future. We offer members invitations to exhibition openings and exclusive events; private exhibition and collection tours; complimentary parking at select events; and the latest news of acquisitions, programs, and more.

Here are the additional member events planned for fall.

WEDNESDAY, OCTOBER 13
Enjoy a night of special access to the Ransom Center at this insiders’ open house and reception for new members. Invitation-only; RSVP required.

SATURDAY, NOVEMBER 6
Cathy Henderson, Associate Director of Exhibitions and Education, leads an exclusive tour of restricted-access areas of the building, including the cataloging, technology, and conservation departments, and collection storage. Open to Guild and Director’s Circle members; limited capacity; RSVP required.

We invite you to join, upgrade, or renew today to experience all that the Ransom Center has to offer.

Fifteenth-century bookbinding includes ninth-century Bible fragment in front and back covers

By Alicia Dietrich

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Michael Laird, adjunct professor in the Graduate School of Information at The University of Texas at Austin and the proprietor of Michael Laird Rare Books, shares some recent discoveries he made about a Bible in the Ransom Center’s collection.

Scholarship begets scholarship; ergo bibliography, the study of books as physical objects, builds upon earlier discoveries, while seeking to answer questions about the transmission of texts, the provenance of books, and their bindings.

In fall of 2009, Ryan Hildebrand, head of book cataloging at the Ransom Center, wrote about an unusual nineteenth-century fore-edge painting that adorns a fifteenth-century book at the Ransom Center, namely a Latin Bible, printed in 1481 by Johann Amerbach, of Basel.1

While the name of the fore-edge painter (John T. Beers), is known 2, questions remain about the bookbinding itself, and of the manuscript fragment contained therein, specifically: When and where was the binding made? Can we identify the text of the manuscript fragment, and determine its date of origin?

It is an extraordinary fact that certain ornamental tools that were stamped on early bookbindings were unique to a particular workshop and thus can help to identify specific binderies—or even specific bookbinders. The study of early bookbindings has made significant progress during the last decade, particularly in Germany where vast databases of Gothic bookbinding tools now appear online3.

Fifteenth-century Gothic bookbinding, signed with the name-stamp of Johannes Meigfoge. Ellwangen, Germany. Pigskin over wooden boards, front cover. Photo by Pete Smith.
Fifteenth-century Gothic bookbinding, signed with the name-stamp of Johannes Meigfoge. Ellwangen, Germany. Pigskin over wooden boards, front cover. Photo by Pete Smith.
Careful study of the Ransom Center’s bookbinding reveals an actual name-stamp on the front and back covers. The binding is also adorned with ornamental stamps of birds, flowers, hearts, and Evangelist symbols. (View the above slideshow for more images of these stamps.)

After more than 500 years of use, many of these stamps are no longer easy to see. In special cases, a light pencil rubbing can reveal much more than meets the eye. It was determined that the Ransom Center’s binding is such a case, and Associate Director and Hobby Foundation Librarian Richard Oram gave special permission for rubbings to be made in this instance. These rubbings were then compared with other rubbings that were taken from known binderies of the fifteenth-century.

The name on the binding of the Ransom Center’s 1481 Bible is Johannes Meigfoge. Meigfoge is known to have been active in Ellwangen, Germany, during the late fifteenth- and early sixteenth-century. Meigfoge’s workshop was first described by Ernst Kryss4, who failed to localize the bindery, but located 38 bindings by Meigfoge, including 35 books printed in the years 1475 through 1513, and 3 manuscripts. The location of Meigfoge’s workshop was convincingly assigned to Ellwangen (eastern Baden-Württemberg) by Heribert Hummel, in 1977.5

Fragment of a 9th-century Latin Bible. John 10:5 used as spine-lining. Manuscript on parchment. Photo by Pete Smith.
Fragment of a 9th-century Latin Bible. John 10:5 used as spine-lining. Manuscript on parchment. Photo by Pete Smith.
Inside the front and back boards of the present binding may be seen an extremely ancient fragment of manuscript that dates from the ninth-century.6 Whereas fragments from old manuscripts were commonly used as strengtheners by fifteenth- and sixteenth-century bookbinders, scholars rarely encounter manuscript material as old as this fragment. And so we can deduce that in the fifteenth-century, this small piece of parchment waste was used by Johannes Meigfoge to strengthen the inside of the spine, where it is still preserved therein.

Although the text of the fragment is hardly extensive, the Caroline minuscule handwriting is quite clear, and reads: In quam cumq[ue] domum intraveritis pri[mum dicite: pac huic domui. This text is from the New Testament, specifically Luke, chapter 10, verse 5:

“Into whatsoever house you enter, first say: ‘Peace be to this house.'”

Words of wisdom from a hitherto unknown ninth-century manuscript fragment—easily the oldest Biblical text at The University of Texas at Austin— afforded by the study of books as physical objects. With its nineteenth-century fore-edge painting, it is a remarkable fact that in one volume we are able to discover evidence of ca. 1000 years of book history.

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1HRC Incun 1481 B471a

2Jeff Weber, Fore-Edge Paintings of John T. Beer (Los Angeles: J. Weber Rare Books, 2005)

3The Einbanddatenbank of the Staatsbibliothek zu Berlin (accessed 8/8/2010)

4Ernst Kyriss, Verzierte gotische Einbande im alten deutschen Sprachgebiet (Stuttgart: Max Hettler, 1953), Tafelband I, no. 53. Ilse Schunke, Die Schwenke-Sammlung gotisher Stempel- und Eingbanddurchreibungen (Berlin, 1996) II, p. 257, offers no evidence for the assignment of this workshop to “Tubingen.”

5Heribert Hummel, “Johannes Meigfoge, ein Ellwanger Buchbinder des 15. Jahrhunderts” (in: Ellwanger Jahrbuch Bd. 27, 1977/78, pp. 187–194).

6Compare the ninth-century Latin Bible fragment at the Bancroft Library, UC Berkeley: f2MS A2M2 800:3, reproduced by Digital Scriptorium. (accessed 8/8/2010). The Bancroft fragment is thought to be German (as here?)