Volume XXIII, Number 1 Winter 2005 ONE FOOT in the PAST, CUTTING-EDGE TECHNOLOGY

Volume XXIII, Number 1 Winter 2005 ONE FOOT IN THE PAST, CUTTING-EDGE TECHNOLOGY

Once upon a time, back in the days in the Royal Street complex to having more the Williams Research Center strengthened when computer terminals glowed green, than 60 networked machines distributed this unified approach to information access. The Historic New Orleans Collection was a across three separate sites. The Systems Previously, each of THNOC’s collecting hotbed of cutting-edge technology—and Department initiated a wide variety of soft- divisions—curatorial, library, and manu- practitioners of the newly minted profes- ware development projects, including a vast scripts—had its own reading room. Now, a sion of museum information management expansion of The Collection’s mailing-list single reading room on the second floor of were beating a path to the doors of 533 program; databases for archival collections; the WRC, where all collections can be Royal Street to get a firsthand look at one and membership in OCLC, the national accessed, provides visitors with a more of the most sophisticated collections- library network most libraries use to catalog effective research experience. management systems in the country. Auto- their books and periodicals. Collections management was now mated collections management represented Yet despite the many infrastructure streamlined at front and back ends—mate- the advent of computing technology into changes and special projects, the heart and rials entered The Collection through a sin- the core museum processes. The Collec- soul of The Collection’s information system gle door and were made available to the tion, which went hi-tech in 1985, was one remained virtually unchanged. By the mid- public in one room. But in between, mate- of the first history museums in the country 1990s it had become apparent that the sys- rials took a circuitous route through sepa- to install an automated system—a particu- tem needed upgrading. But the same fac- rate cataloging and curatorial processes, larly striking accomplishment, given that tors that drove The Collection to seek a resulting in descriptive records of unequal many larger institutions lagged behind. new system complicated its efforts to find a formats: The Historic New Orleans Collection suitable one. Put simply, THNOC had to • Curatorial records were accessible via Newsletter (an earlier incarnation of the find a way to serve, and integrate, its dis- the THNOC system; Quarterly) featured the installation of the parate internal bases. • OCLC provided full library records, new system on its front cover, complete Part of The Collection’s powerful but only the abbreviated registration with pictures of beaming staff members appeal as a historical research institution is records were available locally; hunched over box-like terminals. its melding of museum, library, and • And, in long-standing archival tradi- Years passed and THNOC refined, archival functions. While other institutions tion, manuscripts finding aids existed upgraded, and expanded its computing with similar components exist, none only on paper. facilities. In 1994, in preparation for the entwine these three functions as closely as Ideally, when patrons asked research ques- opening of the Williams Research Center, THNOC. A strategic decision made in the tions, WRC staff would be able to consult a The Collection installed a local area net- late 1980s dictated that every item acquired single source. But that goal remained elusive. work, moved to the Microsoft Windows by the institution be registered in a single As the Systems Department searched operating system, connected to the Inter- computerized tracking system. This strat- for software to merge the collection infor- net, created its first website, and strung egy gave The Collection tremendous con- mation, it became clear that no extant more than a mile of network cabling in the trol over its holdings and afforded staff automation system had the ability to han- WRC. From 1987 to 1996, THNOC members the ability to search all three dle the combined needs of THNOC’s three went from having two personal computers repositories at one time. The opening of research departments. Systems personnel

2 ONE FOOT IN THE FUTURE

faced a stark choice: either purchase (and using the new Encoded Archival Descrip- Keely Merritt, photography assistant, scans images for the IMLS-funded digitization project. maintain) three separate information tion standard format almost from the systems, or develop something completely moment it became available, and curatorial new. The latter option prevailed. staff adopted AAT (Art and Architecture Mint. In November The Collection— Throughout 1999 the Systems Depart- Thesaurus) standards for nomenclature. together with the State Library of ment met with individual staff members to When The Collection at last had a system Louisiana, the Louisiana State Museum, analyze the flow of collection information to accommodate this data, it was ready to and the Louis Digital Library—became a through THNOC. After distributing a be imported. recipient of an Institute of Museum and 177-page survey to a dozen library and Over the course of four years and Library Services (IMLS) National Leader- museum-systems vendors, department countless meetings, tests, classes, consulta- ship Grant, one of only 44 awarded nation- members scheduled presentation sessions tions, and the occasional trip to Ottawa wide. Helping to fund the digitization of

with four vendors. In essence, Systems was and Vancouver, the Mint (“Minisis Inte- COLLECTIONS-MANAGEMENT SYSTEMS up to 13,000 photographs, paintings, and looking for a company to go out on a grated”) system came into being. A new, drawings over the next two years, the grant limb—to create a product that nobody else streamlined registration module went live provides for a significant addition to The had, but everybody (in time) would want. on January 2, 2003. Once new objects Collection’s digital image collection in both The vendor needed strong development cleared the registration process, registrars number and scope and will help form the skills; solid experience in curatorial, library, could automatically create new records in basis for a digital, non-chemical based and archival applications; and, perhaps dedicated curatorial, library, and manu- photo-duplication process. Linda Epstein, most important, a compelling vision for the scripts cataloging systems. The curatorial project personnel, has completed half of the future. In the end, THNOC chose Minisis portion of this set of applications, which project funded by the Diboll Foundation to Inc., a Canadian firm with a 30-year his- also handles basic collections-management convert the Vieux Carré Survey into an tory in libraries and archives. information for all divisions, went live in electronic resource, available online and Selecting a vendor was merely the first early 2004. In November of that year, the searchable through a mapped interface. In step in a long and arduous implementation Minisis staff and the Systems Department December 2004, The Collection installed process. No computer system, no matter finalized the new library system. The its first membership system, replacing its how technologically advanced, is independ- manuscripts system will follow in 2005. antiquated mailing list with sophisticated ently capable of solving an organization’s Each system includes extensive help and powerful new software (see pages 4-5 problems. Successful computer systems screens and controlled vocabularies devel- for an announcement of the new member- must be tailor-made to resemble a virtual oped in-house by Carol Bartels, The Col- ship program). And the computing infra- body cast of an organization’s structure and lection’s documentation coordinator, work- structure is constantly being maintained work habits. No two systems are alike— ing in conjunction with registrars, curators, and upgraded by network manager José just as no two organizations are alike. By catalogers, and reference staff. A new web Zorrilla—new servers power the new soft- studying how “off-the-shelf” systems might interface, making all of The Collection’s ware, and in August, a point-to-point laser be adapted to serve organizational needs, records available on the Internet from a sin- system joined the Royal Street and Chartres the Systems Department had gained insight gle query screen, will eventually be released Street locations into a single, seamless net- into how The Collection functioned and as well. Mint has already generated inter- work to make way for an expected increase how it fell short of its goals. But even with national “buzz” and is now being installed in traffic as large image files become a vendor selected and the redesign process at the Archives of Ontario in Canada and increasingly common. While significant commenced, challenges remained. the Netherlands Architecture Institute in amounts of work remain, the public will Fortunately, THNOC’s staff had been Rotterdam. Just as it did in the floppy-disk begin to see the first of these efforts reach thinking ahead. The library catalogers had era, The Historic New Orleans Collection fruition by the late summer of 2005. been creating records in the standard is once again setting the standard for —Chuck Patch MARC (Machine-Readable Cataloging) cutting-edge museum technology. format for years. Likewise, manuscripts A flood of related activity at The Col- Opposite page: Systems staff —Chuck Patch, catalogers had been creating finding aids lection has surrounded the installation of Carol Bartels, and José Zorrilla.

3 The Dianne Woest Fellowship in the Arts and Humanities

he Historic New Orleans Collection is proud to announce a new fellowship to support scholarly research Tand promote the history and culture of Louisiana and the Gulf South. The inaugural Dianne Woest Fellowship in the Arts and Humanities will be awarded in 2006. Woest fellows will be based at the Williams Research Cen- ter, home to some 35,000 library items, more than two miles y becoming a member of The Historic New Orleans of documents and manuscripts, and approximately 350,000 Collection, you are helping to meet the ever-increasing educa- photographs, prints, drawings, paintings, and other artifacts. tional needs of the region. Your generosity supports interna- Our collections illuminate the history and culture of the B tionally renowned exhibitions, popular publications, and educational Gulf South, Louisiana, and New Orleans—with a particular outreach programs. In addition to receiving The Historic New Orleans focus on colonial Louisiana, the Louisiana Purchase, the Battle of Collection Quarterly, members will enjoy the following annual benefits: New Orleans, the Civil War, Mississippi River life, cartography, • Subscription to The Collection’s donor newsletter transportation, plantations, urban development, Louisiana artists • Membership card and writers, historic preservation, architecture, early New • 10% shop discount Orleans jazz, and Mardi Gras. While THNOC resources should • Unlimited guided tours of the history galleries, Williams play a central role in the proposed research agenda, fellows will Residence, and current exhibitions (during regular business hours) also be encouraged to explore other research facilities in the • Members-only trips, events, and exhibition previews Greater New Orleans area. • Recognition on The Collection’s donor wall The Woest Fellowship is open to doctoral candidates, academic and museum professionals, and independent scholars. U.S. citizenship is not required, but applicants should be fluent in the English language. Fellows will be expected to: PREPARATIONS BEGIN FOR A • present a public lecture during their term of residence Colonial St. Domingue: A Louisiana Heritage Story • acknowledge The Collection in any published work drawing on research completed under the aegis of the fellowship ver the next year curators will travel to France and Stipend: The fellowship carries a stipend of $4,000/month, to be OSpain, registrars will pre- disbursed on a monthly basis for a minimum of one and a maxi- pare loan agreements and organize mum of three months. Fellows may select their period(s) of resi- the shipment of items, and prepara- dence, but all research must commence and conclude during the tors will build frames and cases—all specified calendar year. in preparation for the January 2006 opening of Colonial St. Domingue. A Deadline: Applications for the 2006 Woest Fellowship are due comprehensive look at the history of August 1, 2005. Awards will be announced September 15, 2005, St. Domingue and the impact of its with research to begin on or after January 1, 2006. revolution on Louisiana, Colonial St. Domingue will bring together items To Apply: Applicants are encouraged to familiarize them- from the Archivo General de Indias selves with The Collection’s resources by visiting www.hnoc.org. Toussaint L’Ouverture, courtesy of in Seville, Centre des archives Fritz Daguillard Fellowship applications may be downloaded from the website’s d’outre-mer in Aix-en-Provence, “research” link. For more information, call Dr. Alfred Lemmon, Bibliothèque nationale de France in Paris, Ministère des affaires Director of the Williams Research Center, at 504-598-7124, or Étrangères in Paris, Centre des Archives Diplomatiques in Nantes, Dr. Jessica Dorman, Director of Publications, at 504-598-7174. and private collections in Europe and Louisiana. Beginning with an examination of the island’s original coloniza- The Historic New Orleans Collection gratefully acknowledges the tion by the Spanish (1492-1697) and its prosperous years as a French generosity of Dianne Audrey Woest (1935-2003), a graduate of sugar colony (1697-1789), the exhibition will address such topics as Southeastern Louisiana University, former president of the New the effects of colonization on the native population, the introduction Orleans Council for International Visitors, and true friend of the of the slave trade, the technology and economic impact of the sugar arts. Through a planned giving arrangement, Woest designated industry, urban development as a reflection of the Enlightenment, The Collection as a beneficiary of her estate. and social life on the island during the boom era. Progressing to coverage of the revolution and its aftermath (1790-1810), Colonial St. Domingue will examine the social stratification of St. Domingue 4 Founder $35 Full membership privileges, as outlined Marla and Larry Garvey, 2005 Honorary Merieult Society $100 Membership Chairmen Full membership privileges Special gift THNOC curator-guided visits at regional historical sites

Mahalia Society $250 Full membership privileges Special gift Laussat Society $1,000 THNOC curator-guided visits at regional historical sites Full membership privileges Private guided tours of The Collection Special gift THNOC curator-guided visits at regional historical sites $500 Private guided tours of The Collection Jackson Society Free admission to all lectures hosted by The Collection Full membership privileges Special Laussat Society member receptions and tours Special gift Annual gala evening THNOC curator-guided visits at regional historical sites Private guided tours of The Collection Free admission to all evening lectures presented by The Collection Bienville Circle $5,000 Full membership privileges Special gift Membership—at all levels—carries benefits for the entire household: a THNOC curator-guided visits at regional historical sites single individual or a couple, along with any children under age 18. Private guided tours of The Collection MEMBERSHIP PROGRAM NEW For more information, please visit our website at www.hnoc.org or Free admission to all lectures and conferences call the office of development at (504) 598-7173. Special member receptions and tours All inquiries are confidential and without obligation. Annual gala evening Private luncheon in the Executive Gallery

GROUNDBREAKING EXHIBITION

(white planters, petit blancs, free people of color, and slaves); the role of key revolutionaries (Toussaint L’Ouverture and Jean-Jacques Dessalines); the contributions of the French, British, and Spanish; and the links between the revolt and the Louisiana Purchase. Finally, the exhibition will look at the plight of the French refugee in the United States, especially in New Orleans. This final segment, the heart of the exhibition, will track a Route pour le voyage de la Louisiane from Antoine Laval, plethora of cultural influences through the activ- Voyage de la Louisiane (Paris, 1728) (72-50-L) ities of notable refugees such as Louis Duclot, Louis Moreau- Lislet, James Pitot, and Denis Prieur. From architecture to food- ways to furniture design, local culture continues to meld lower Mis- sissippi Valley and West Indian elements. A variety of programming— the annual Williams Research Center Symposium, guest lec- Illustration of sugar cane plant tures, a reception, and educational from F. R. de Tussac, Flore des activities—will accompany the Antilles (Paris, 1808), courtesy run of Colonial St. Domingue Frontispiece, “Costier de Saint-Domingue,” courtesy of Centre des archives of Centre des archives d’outre- mer, SOM F98/2. Sugar produc- (January 13-June 2, 2006). Mark d’outre-mer, F3 291. The image, dating between 1783 and 1794, is a fantasy composed of several sketches of St. Domingue. tion was the major industry on your calendar now! the island in the 18th century. 5 Jules Cahn Collection Receives National Film Preservation Foundation Grants

or the second year in a row, Jude partnership grant to preserve two films shot reformat films documenting activities of Solomon, associate curator at The His- by Jules Cahn—footage of a jazz funeral in the Zulu Social Aid and Pleasure Club. Ftoric New Orleans Collection, has 1963 and documentation of the first Mardi The films, taken by Cahn in the 1960s, fea- applied for and received a grant from the Gras Indian “Super Sunday” (the meeting ture coverage of the Zulus parading on National Film Preservation Foundation to of the Uptown and Downtown Mardi Gras Mardi Gras day (before they moved to the preserve film from the Jules Cahn Collection. Indians) in 1970. Partnership grants pro- traditional Uptown route) and participat- Established by the U.S. Congress in 1997, vide for preservation work at laboratories ing in second-line parades and coverage of the NFPF supports the preservation of Amer- and post-production houses donating serv- the club’s jazz funerals. ican films through a variety of grant pro- ices to the NFPF. The films covered by the 2003 grant grams in an effort to increase the accessibility The 2004 award, a federal preservation are now available on VHS tapes for viewing of films for study, education, and exhibition. grant, covers up to $5,000 worth of profes- in the Williams Research Center and have In 2003, The Collection received a sional laboratory services to duplicate and been digitally mastered for future use.

Zulu Social Aid and Pleasure Club funeral Big Chief Theodore Emile “Bo” Dollis of the Wild Magnolias Mardi Gras Indian tribe by Jules by Jules Cahn, 1977 (2000.78.8.20), Jules Cahn, 1974 (2000.78.8.33), Jules Cahn Collection Cahn Collection

A YEAR OF AWARDS FOR CHARTING LOUISIANA ON VIEW THROUGH MAY 7 FIVE HUNDRED YEARS OF MAPS Royal Street Museum Complex (533 Royal Street) Since its September 2003 release, A Heritage of Faith: Christ Church Cathedral and Episcopal Louisiana, 1805-2005, an Charting Louisiana has garnered much exhibition mounted in celebration of the liturgical bicentennial of the Episcopal Church attention, receiving three awards in in Louisiana, features documents, pictorial materials, and artifacts from Christ Church 2004. In addition to the honors Cathedral and other sources. announced in the spring 2004 Quarterly—the Humanities Book of Williams Research Center (410 Chartres Street) the Year Award from the Louisiana Tarnished Laurels: The British at the Battle of New Orleans tells the story of the 1814-15 Endowment for the Humanities and campaign from the British perspective. Highlights of the exhibition include manuscript the Louisiana Literary Award from the maps and accounts of the battle by British officers; a collection of historical prints Louisiana Library Association—the dramatizing the death of Major General Sir Edward Pakenham; and a diverse selection of let- atlas recently received the Best Book on ters, original artworks, and both manuscript and published memoirs. the Gulf South Award from the Gulf An expanded show highlighting both the American and British perspectives and featuring South Historical Association. See page 15 to order a copy of Charting additional memorabilia, including vintage weapons and uniforms, will open at the Royal Louisiana: Five Hundred Years of Maps. Street museum complex on May 17, 2005.

6 SECOND ANNUAL FROM THE DIRECTOR DECORATIVE ARTS LECTURE A New Era at ENGLISH SILVER OF THE The Collection GEORGIAN PERIOD Through the years The Historic Dr. Helen Clifford New Orleans Collection has Dr. Clifford is affiliated with the Victoria and Albert Museum grown by leaps and bounds— and is an independent scholar involved in the planning of not only by adding to the collections and augment- upcoming exhibitions at Somerset House, ing the physical structures that house them, but London, and the Ashmolean Museum, Oxford. also by increasing educational services. We have In October 2004, her book Silver in London: The always been dedicated to education by making our Parker and Wakelin Partnership, 1760-1776 was holdings of primary source materials easily available released by Yale University Press. Dr. Clifford also to the public for consultation, research, and publi- co-authored two previous publications—Consumers cation. As you know from the cover story, creating and Luxury: Consumer Culture in Europe, 1650-1850 data systems for collection accessibility is an ongoing and Contemporary Silver: Commissioning, Designing, process, and as the past 20-plus years have shown, Collecting. In addition to being an honorary fellow of the we are dedicated to the use of innovative technology. department of history at the University of Warwick, Dr. In the last two years, our publishing has Clifford is a member of the Association of British Designer- increased markedly, led by the award-winning Silversmiths and a fellow of the Society of Antiquaries of Charting Louisiana, and followed by a biography of Sterling silver two-handled London. the artist George Louis Viavant; a multifaceted look cup by Thomas Whipham SATURDAY, MARCH 5, 2005 at our holdings, From Louis XIV to Louis and Charles Wright, WILLIAMS RESEARCH CENTER Armstrong; and the memoir of Royal Navy admiral London, 1763 (72.645a,bWR) 410 CHARTRES STREET Robert Aitchison, who served at the Battle of New 9:30-11:30 a.m. Orleans and whose original journal is a centerpiece Admission fee: $20 of our collection. Other major books, including the Please call (504) 598-7171 for reservations. Seating is limited. printmaking volume announced in this issue of the The research center will open for patrons at 1:00 p.m. Quarterly, are in preparation. For several years, we have increased our outreach to students by bringing history programs to the classrooms of public and private schools in Strengthening Louisiana’s Orleans and surrounding parishes. In addition, the Cultural Economy education department’s training workshops have helped to orient more than 350 teachers to the ore than 1,100 members of Louisiana’s “creative class” gathered in the benefits of exposing students to primary source Ernest N. Morial Convention Center on December 9-10 for the state’s materials—the ultimate reality show! Mfirst annual Cultural Economy Initiative Conference. Executive direc- Building on the success of the Louisiana tor Priscilla Lawrence and publications director Jessica Dorman, representing The Purchase Bicentennial year, more and more area Collection, participated in workshop sessions to define and promote Louisiana’s museums and other nonprofit entities are collabo- distinctive cultural heritage. rating on programming. Louisiana’s leaders forge The conference, jointly sponsored by the office of Lieutenant Governor ahead with the knowledge that reveling in and Mitchell J. Landrieu and the Department of Culture, Recreation and Tourism, studying our history and cultural heritage is eco- underscored the extent of statewide governmental and business support for the nomically and educationally beneficial to all. arts—and encouraged collaborative efforts within and among Louisiana’s museum, When we have reached out to you, our patrons film, music, publishing, culinary, theater, dance, and design sectors. Landrieu and donors, you have been most generous with pledged to “use an innovative and entrepreneurial approach to transform arts and your support. Your widespread interest leads us to culture into a viable sector of Louisiana’s economy.” Keynote speaker Charles proudly announce our first ever comprehensive Landry, a leading voice in European cultural planning, urged conference partici- membership program. We invite and encourage pants to take creative approaches to partnership building. Defining “creativity” you to join at whatever level you find appropriate, as “thinking at the edge of your competence,” Landry emphasized the importance and we welcome you as our partners on the journey of risk taking in arts production and promotion, as did such other distinguished onward and upward. speakers as jazz legend Allen Toussaint; American Roots radio host Nick Spitzer; —Priscilla Lawrence Jonathan Katz, CEO of the National Assembly of State Arts Agencies; and pro- ducers and cast from the movie Ray. 7 CHROMOLITHOGRAPHY &MARDI GRAS Excerpts from the forthcoming publication Detail, Carnival bulletin for Comus by Walle and Co., Ltd., 1905 P N O (1980.192.17) The graphic arts in New Orleans—from engravings, lithographs, and photographs to maps, commercial illustrations, and sheet music—are the focus of The Collection’s forthcoming publication, to be produced in cooperation with the University Press of Mississippi. A visually stun- ning book, spanning cultural strata from highbrow to pop, Printmaking in New Orleans offers the first in-depth examination of the print- maker’s art in Louisiana. Edited with an introduction by Jessie J. Poesch, professor emerita of art history at Newcomb College of Tulane University, Printmaking in New Orleans will take its place among the definitive works of southern art history. The book’s 14 chapters build on research presented in a symposium organized by the North American Print Conference. The original symposium—cosponsored by The Historic New Orleans Collection, the New Orleans Museum of Art, and the Louisiana State Museum— assembled an impressive group of experts familiar with the graphic arts of New Orleans. The publication of this volume will further the mission of the NAPC—to stimulate scholarship on, and discussion of, the contributions of printmaking to artistic, social, and cultural history. Leading up to the book’s fall 2005 release, the Quarterly will feature excerpts from Printmaking in New Orleans. The passages below, drawn from Jessie Poesch’s introduction and Kellye Rosenheim’s essay on chromolithography, address Mardi Gras imagery. ithography, a planographic printing orful scene of Hogarthian revelry taking process invented in Bavaria in the As early as 1867, the invitation to the place under a full moon and proclaims the L late 18th century and patented in Comus ball was chromolithographed. The krewe’s motto, “A LIVE GOOSE IS BET- the United Kingdom in 1800, reached the lithographer/printer, Captain John E. TER THAN A DEAD LION.” United States by 1819. In time, color litho- Boehler, was a native of Germany who had The biggest producer of chromolithographs—or chromolithographs—supplanted begun working in New Orleans in 1840. graphs in New Orleans during this time black-and-white lithographs in both popu- After serving in the Civil War, Boehler was undoubtedly the firm of T. Fitzwilliam larity and commercial exposure. Among returned to New Orleans, where he worked and Co. Thomas Fitzwilliam, a native of the largest local consumers of chromolitho- until his death in 1875. Another native of Ireland, was an entrepreneur and a found- graphs were the Mardi Gras organizations, Germany, Hermann Wehrmann—who ing member of the Hibernia Bank. He or krewes, who requisitioned colored invi- arrived in New Orleans soon after the worked in New Orleans from 1853 until tations and dance cards for their annual war—produced a color invitation for the his death in 1917. An 1884 advertisement carnival balls and festivities. 1874 Comus ball. for Fitzwilliam’s steam press lithography Chromolithography thrived in the business promotes a variety of services, with What is a chromolithograph? The defini- 1880s. An 1882 invitation to the ball of “Fine Color Work” prominently featured. tion, according to scholar Peter C. Marzio, the Rex organization perfectly captures the Fitzwilliam’s firm produced the 1883 invi- “is muddy.” In addition to single-color and Mardi Gras spirit of whimsy and fantasy. tation to the Phunny Phorty Phellows hand-colored lithographs, both printed This delightful invitation, produced by Mardi Gras ball. The flat card with four from one lithographic stone, the category Charles Briton, came in a cone-shaped flaps and applied decoration of lace and can also include tinted lithographs, printed envelope that, when opened, revealed two satin (printed with various scenes) was from one stone but using additional stones little slippered feet at the slit. The invita- probably designed by Daniel Buechner, the to flood the picture surface with tint for tion features a merry Old King Cole-like firm’s top artist, known for his carnival atmospheric effect. Printed color litho- die-cut figure in a deep purple cloak lined designs. graphs, meanwhile, are composed of at least with brilliant feathers. Briton, an impor- As “phun” as they were, locally pro- three colors, each applied from a separate tant carnival artist in New Orleans, Cincin- duced invitations were a rarity. The great stone; the resulting picture is defined by the nati, and Baltimore, designed the locally majority of chromolithographed invitations colors of the chromo. The differences famous 1873 Comus pageant Origin of were produced in France, with a few among these products are not always clear Species. He died at his work table in 1884. printed in Baltimore or New York. New to the eye—and, up until the early 1860s, The invitation by George Kerth to the 1882 Orleans lithographers undoubtedly tried to any lithograph printed in color in America ball given by the Independent Order of the imitate the French style preferred by was simply called a chromolithograph. Moon (no longer in existence) pictures a col- krewes. 8 Invitations by Paris lithographers Sicard and F. Appel embody the French The most splendid chro- ideal. Unlike the invitations produced in molithography in the city New Orleans, which typically pictured appeared on carnival bul- more generalized Mardi Gras scenes, the letins. These large Parisian prints portrayed the krewes’ spe- Mardi Gras parade cific themes. Often classical in nature, car- charts illustrated the nival themes tapped Greek and Roman floats in upcoming mythology, exotic cultures, “Treasures of parades and were sold as the Earth,” “Human Passions and Charac- extra editions of New ters,” and King Arthur’s court. Orleans newspapers. They French invitations were considerably first appeared in 1878 as one- more elaborate and delicate than those pro- color wood engravings; in 1884 duced in America. Unfolding to reveal the first full-color carnival bulletin Moorish palaces, ladies’ fans, and other was produced by the Southern Litho- elaborate creations, they almost always fea- graphic Co. The Fitzwilliam firm produced tured complex die-cut edges, finely printed its first carnival bulletin for Proteus in 1886 Invitation to Rex ball by images, and multiple flaps and tabs. and through the 1890s held a virtual Charles Briton, 1882 Expensive French invitations, used as early monopoly on these bulletins. In 1902, (1960.14.74) as 1879 by the Rex organization, were soon Walle and Co. produced its first carnival copied by other krewes. This style was bulletin. Except for T. Fitzwilliam and Co., decided well in advance of Mardi Gras, especially suited to the taste of mem- which continued to represent Pro- providing ample time to order invitations bers of the Rex, Comus, and Proteus teus until 1911, Walle and Co. from France. Because the designs of indi- krewes. made all carnival bulletins until vidual floats were completed closer to the No New Orleans lithographer World War I. Walle and Co.’s parade time and were much more specific, could produce anything quite to bulletins were not published there was not enough time to have bulletins this French standard, and cer- by the newspapers, but produced in France. tainly not for the price. by the company itself. In the end, taste and logistics probably European labor was A comparison both played a role in printing decisions. It cheaper than American, of the production of seems likely that krewe members, who paid and the raw materials for carnival bulletins for the invitations and sent them to their lithography had to be and invitations guests, simply wanted French invitations. imported from Europe. suggests interesting The newspapers and printing companies In other American cities, who produced the bulletins probably did so lithographers formed lob- Invitation to Phunny Phorty Phellows in conjunction with the krewes and the bying groups to protest foreign ball by Koeckert and Walle, 1896 float designers. The challenge of finding competition, but not in New Orleans. (1984.30.4), gift of Gertrude Seaton Foley someone to print the bulletins—and possi- By the 1890s there were almost no bly incur financial risk—naturally led to locally made chromolithographed Mardi social distinctions. By the turn of the cen- the choice of a local printer. Gras invitations. An exception is an 1896 tury, the chromolithographic process was In 1905 Walle and Co. created one of invitation to the Phunny Phorty Phellows used for carnival bulletins but not for invi- many fine carnival bulletins for Comus. ball by the firm of Koeckert and Walle fea- tations. But when chromolithography was Produced at a time when the process was turing a die-cut owl whose wings open to used for invitations, the prized announce- languishing in other parts of the country, reveal a strange, enthroned character. On ments of private balls—sent to krewe mem- this carnival bulletin is one of the best the inside of the wings are scenes of fash- bers and guests—were almost always made examples of chromolithography in New ionable people watched over by owls and in France. The large carnival bulletins, Orleans. By 1912, Walle and Co.’s bul- winged cherubs. Extra wings serve as the announcing parades to the general public, letins became somewhat stiffer in design. admit cards and announce the place and were entrusted to local printers. The extent After World War I, bulletins, mainly time of the ball. Although charming and to which social cachet, as opposed to logis- produced by Searcy and Pfaff, became evocative of the holiday spirit, the invitation tical concerns, determined printing assign- cartoonish and perfunctory. represented a late example of lithography. ments may finally be determined only With the coming of photomechanical through close examination of krewe In an age before color photography, reproduction in the 1890s and early 1900s, records. It may well be that large-scale jobs chromos gave us some of the most spectacular the use of chromolithography on invita- required chromolithography. It may also be artifacts of our material culture. tions began to decrease. that the theme of any year’s celebration was —Jessie Poesch and Kellye M. Rosenheim 9 Supporting The Collection’s Vast Resources

pproximately 15 years ago, Jim bridge. Liz muses, “When your mothers and Liz Reynolds visited The are along, I suppose it can’t be considered a A Historic New Orleans Collection first date.” In high school Jim and Liz went to research Jim’s mother’s family, the Seilers. to the Loew’s State, the Saenger, or the An afternoon spent sifting through card Orpheum to see movies. College outings files (before the reading rooms were brought the couple to the French Quarter equipped with computers) turned up a where they enjoyed the music of Papa plethora of information on family members Celestine, Al Hirt, and Pete Fountain, and the business they operated on Canal among others. From dating to marriage Street. Jim was thrilled: “I learned the his- Jim and Liz Reynolds and raising four children, from attending tory of the business and found out its exact involved in The Collection’s many programs college at Tulane University and Newcomb address [in the 900 block of Canal Street]. and find the broad range of topics covered College to the establishment of Jim’s pedi- I was amazed by the amount of information most impressive. atric cardiology practice, the Reynoldses I discovered.” On that day, the Reynoldses For the Reynoldses, New Orleans is, have been rooted in New Orleans. But they “fell in love” with The Collection and the and always has been, home. When asked, believe that “so many people who move richness of its repository. Enamored with “Where are you from?” Liz Reynolds here feel that they can’t get a concept of New the institution’s research component, the quickly responds, “New Orleans, of Orleans, that they are not a part of the city.” couple has chosen to support The Collec- course.” As natives, Liz and Jim under- According to the Reynoldses, “The Collec- tion financially to help ensure the contin- stand and cherish the city’s distinctive his- tion welcomes those not native to the area ued expansion of the holdings and their tory and culture. Indeed, the story of their and gives them a feel for what locals love accessibility. They’ve also been actively courtship is a real New Orleans tale. Jim about the city.” Indeed, through their sup- and Liz met in grammar school; on their port of The Historic New Orleans Collec- “first dates,” the Reynoldses attended class- tion, the Reynoldses assist the institution in HAVE YOU CONSIDERED mates’ birthday parties and spent after- fulfilling its mission to “tell the stories of our A PLANNED GIFT? noons together while their mothers played region to New Orleanians…and the world.” In many cases, a planned gift can help you achieve the following objectives: • Bypass capital gains taxes • Increase current income • Reduce current income taxes • Reduce federal estate taxes SECOND ANNUAL • Conserve future assets for your heirs • Benefit your favorite charity Laussat Society To better serve the community, The Historic New Orleans Collection is pleased to offer the following materials free of charge: Gala • Giving Through Life Insurance • Giving Through Charitable Remainder Trusts • Giving Through Your Will • Giving Securities • Giving Through Retirement Plans • Giving Through Gift Annuities For more information about planned giving, please call Jack Pruitt, Jr., director of development, (504) 598-7173. All inquiries are held in strictest confidence and are without obligation. The Historic New Orleans Collection does not offer legal or tax advice. We encourage you to consult your legal and financial advisors for structuring a gift plan that achieves your giving intentions and meets your particular financial circumstances.

10 DONORS: July-September 2004

Fiona Abrams Cox Communications—Channel 8, The Mr. & Mrs. L. Garvey Fund of The Nadia St. Paul Möise Associated Office Systems Jefferson Parish; Channel 10, Greater New Orleans Foundation Frances Salvaggio The Azby Fund New Orleans Nancy La Fonta de Saintegeme Courtney-Anne Sarpy Barataria-Terrebonne National Estuary John J. Cummings III LaPorte, Sehrt, Romig & Hand Mark Schleifstein Program Dr. Randolph Delehanty Janet Larson Helen L. Schneidau Ann Wood Barnes Department of the Army, New Orleans Mr. and Mrs. John H. Lawrence School of Design Mr. and Mrs. J. W. Bean District, Corps of Engineers Dr. Alfred E. Lemmon Joy Segura Steve Bellas Blaine Derbigny Edward J. Lennox David Shaw Ms. C. G. Bennitt Dorian M. Bennett, Inc. Dr. Ernest A. Liner Shields, Mott, Lund L.L.P. Bienville House Hotel William Lake Douglas Dr. George Lyons Dorothy B. Skau Dr. and Mrs. Thomas Bonner, Jr. Wilson G. Duprey Ralph Madison Edgar Lee Smith Mr. and Mrs. Robert S. Brantley Entergy Charitable Foundation Milling Benson Woodward L.L.P. Patty Lemée Smith in honor of Emily Broadmoor United Methodist Church Lea Filson Mississippi River Parkway Catherine Smith Bruce Brown Catherine A. Flaherty Commission Estate of Milton Solowitz Mr. and Mrs. James L. Cahn Patrick Flory New Orleans Television Dr. and Mrs. Wayne Stromeyer Calumet Photographic Ben Fontanelle The Ogden Museum of Southern Art, Tennessee Williams/New Orleans Cane River National Heritage Area Phyllis Fullerton Inc. Literary Festival Commission Henry Gautreaux Orange County Regional History Roulhac B. Toledano Mr. and Mrs. William K. Christovich Terry Gerstner Center, Orlando Florida Mr. and Mrs. John E. Walker for the for the bookplate program in memory Renée Glindmeyer Amy Ouchley bookplate program in memory of of Mr. and Mrs. Alvin Richard Mr. and Mrs. Harold Gorman Patio Planters Oliver J. Counce Christovich, Sr., Elyria Kearney John H. Hernandez Louis Peneguy Lenore D. Wands in memory of Carol Christovich, Isabel Tonry Hollinger Corporation G. David Perrin, Jr. Kammer Fromherz Christovich, Lester E. Kabacoff, The Huntington Library, Art Euphemie T. Phelps WDSU-TV Marie Stadler Keenan, Emerite Collections, and Botanical Gardens Mrs. Robert S. Postle Lawrence M. Weber Gahn Lemmon, Louise Casterade Huntington Museum of Art Mrs. Ewell Potts Jay Weigel Mossy, Ann Ogletree Mossy, Jane Susan Pankey Ives Alexandra Stafford and Raymond Rathlé John F. Wettermark Potts Mossy, Margaret Keenan Richard Jackson Scott M. Ratterree William L. Clements Library Mossy, and Mr. and Mrs. Wiley Mr. and Mrs. Drew Jardine Rault Resources Group Betty Williams Lyons Mossy, Sr. The Kenneth W. Rendell Gallery, Inc. Bettie G. Redler WLAE-TV Citigroup Asset Management Robert J. Killeen Restore or Retreat, Inc. WWL-TV Confederate Memorial Hall Museum Don Kirkland Running Press Book Publishers George T. Conwell St. Denis J. Villere & Company

On Thursday, November 4, 2004, members of the Laussat Society gathered at the home of Trip and Lisa Ludwig for a gala evening. Dinner, compliments of Chef Chuck Subra of La Côte Brasserie and Chef René Bajeux of René Bistrot, was followed by a performance by the Michael White Quartet. Pictured are, opposite page, counterclockwise, Chef René Bajeux and Chef Chuck Subra; Charles and Sherry Snyder; Judge Mary Ann Lemmon and Justice Harry Lemmon; the Michael White Quartet; above, first row, Marla and Larry Garvey; Cheryl and Catherine Betz; Alexandra Stafford and Raymond Rathlé; Julie and Drew Jardine; second row, Todd and Laura Simon Nelson and Lisa and Trip Ludwig; John and Linda Sarpy and Jack Pruitt; Jerry Zachary and Henry Bernstein.

11 of Affleck’s valuable published almanacs are hosted a jazz music radio program for ACQUISITIONS in the library’s holdings. WJLK in Asbury Park. In addition to Affleck’s treatise on As early as 1949-50 Paul Larson began grasses, Report of the Commissioner of collecting material on New Orleans trum- Patents for the Year 1849 includes a report peter Bunk Johnson. A member of the leg- T HE H ISTORIC N EW on the degeneration of sugarcane in endary Eagle Band from ca. 1910 to 1914, O RLEANS C OLLECTION Iberville Parish, Louisiana. The author, J. Bunk reputedly had a strong influence on encourages research in the Pritchard, asks readers to suggest solutions Louis Armstrong and a number of other Williams Research Center at to the problem. musicians before drifting into obscurity in 410 Chartres Street from Recognizing the importance of journals the 1930s. By 1934, forced into retirement 10:00 a.m. to 4:30 p.m. and magazines as research tools, the library as a practicing musician by dental prob- Tuesday through Saturday is committed to acquiring single issues of lems, Bunk had settled in New Iberia where (except holidays). Cataloged journals containing articles of local interest he taught music and did odd jobs for a liv- materials available to and to adding new subscriptions to periodi- ing. While researching a chapter on Louis researchers include books, manuscripts, paint- cals currently published in New Orleans. Armstrong for the 1939 book Jazzmen, his- ings, prints, drawings, maps, photographs, and Louis Peneguy of Atlanta has donated the torian and collector William Russell artifacts about the history and culture of New October 7, 1955, issue of The Second Line, became acquainted with Bunk’s work; Orleans, Louisiana, and the Gulf South. Each a publication of the New Orleans Jazz shortly thereafter Russell and Johnson year The Collection adds thousands of items to Club. This particular issue, the organiza- began a lifelong correspondence and friend- its holdings. Though only selected gifts are tion’s 1955 jazz-festival souvenir program, ship. Believing Bunk’s music to be some of mentioned here, the importance of all gifts contains an article on the history of the the most authentic early jazz worthy of pre- cannot be overstated. Prospective donors of New Orleans Jazz Club. serving, Russell created his own American Louisiana materials are invited to contact the The January 1887 issue of Harper’s Music label in an attempt to market Bunk’s authors of the acquisitions columns. New Monthly Magazine, donated by work and revive his career as a musician. Lawrence Weber of Ohio, supplements The Bunk Johnson’s brief comeback in the Collection’s holdings of the journal. The 1940s initiated great interest in exploring issue contains an article on New Orleans the murky history of early jazz. LIBRARY written and illustrated by Charles For the third quarter of 2004 (July- Dudley Warner. September), there were 34 library acquisi- To add to The Collection’s tions, totaling 192 items. holdings of contemporary periodi- Dorothy Skau has donated three charm- cals, the institution has subscribed ing children’s pamphlets published by local to three recent additions to the mar- coffee companies at the turn of the 20th ketplace—Southern Woman, Scat century. The titles document a novel mar- Magazine, and Gallery Insider. keting strategy of the time period. Fairy —Gerald Patout Tales, published by the New Orleans Coffee Company, and Little Red Riding Hood, pub- MANUSCRIPTS lished by Merchants Coffee Company, offer exquisite color lithographs. The third pam- For the third quarter of 2004 (July- phlet, which lacks its cover, is an alphabet September), there were 16 manu- book with illustrations for young learners. scripts donations, totaling approxi- The donation is a valuable resource for mately 184 linear feet. researchers interested in both the local cof- Janet Larson of Sea Girt, New fee business and advertising practices. Jersey, has donated a vast collection Report of the Commissioner of Patents for of jazz records, memorabilia, and the Year 1849, a recent gift from Lake Dou- research materials assembled over glas, includes an essay on grasses for the the course of 50 years by her late South written by noted horticulturist husband, Paul Larson. Born in Thomas Affleck. Affleck operated several 1931, Mr. Larson began collecting plantations and established one of the earli- jazz records at about the age of 10 est nurseries in the South. He is especially and continued his interest in jazz noted for his Cotton Plantation Record and throughout his adult life. In addi- Account Book which became a model for tion to owning and operating an Fairy Tales published by the New Orleans Coffee Company managing operations for planters. Several automobile dealership, Mr. Larson (2004.0173.2) 12 a mid-20th century example by William time in New Orleans during the middle Spratling, a member of the faculty of the decades of the 20th century. His whimsical Tulane School of Architecture and an inte- paintings and drawings often focus on the gral part of the New Orleans art commu- human figure. Many New Orleanians nity in the 1920s. Spratling left New recall the professional puppet theater Nixon Orleans in 1929 to settle permanently in operated from his Madison Street resi- Taxco, Mexico, where he is largely credited dence, using puppets of his own creation. with reviving that area’s tradition of crafts, In keeping with a focus on collecting por- especially silversmithing. Dating between traits and self-portraits of artists working 1936 and 1940, Spratling’s simple design of in Louisiana, The Collection has acquired a wood and lightly pebbled leather is deco- papier-mâché self-portrait head of David rated by a cutout of a leaping fish in the Nixon, along with documentary material crest rail. describing his career in New Orleans Items related to Carnival in New and abroad. Orleans donated this quarter include —John H. Lawrence posters and float designs for the Rex organization, a gift of the School of Design, and three ball Bunk Johnson, with Jim Robinson on trombone, at the Academy of Music, December 2, 1945 invitations from Nadia St. Paul (2004.0151) Möise. A group of souvenir dolls dating Seeing Bunk as a link to the origins of from the 1930s, a gift of Mrs. Ewell the music that he so loved, Paul Larson set out Potts, includes figures of Jean Laffite, to document every aspect of the trumpeter’s Evangeline, a “casket” girl, and life. Mr. Larson’s meticulously compiled Marie Laveau. Nancy La Fonta de scrapbooks include photographs, newspaper Saintegeme has also donated a clippings, and other memorabilia relating group of dolls representing histori- to Bunk’s comeback and the revival of New cal figures, including Laffite and Orleans-style jazz. Among the extensive Andrew Jackson. subject files in the collection is one entitled David Nixon, a multi-talented Float design for the 1998 Rex parade by Manuel Ponce, “New Iberia” which contains correspon- artist and musician, spent much Blaine Kern Artists (2004.0201.9) dence from Larson to the mayor’s office asking that photographs be taken of Bunk’s various residences in the area and that his former music students be located. Audio SIXTH ANNUAL tapes of Bunk’s performances, a broad BILL RUSSELL LECTURE assemblage of records, a substantial library of biographies and discographies, and CELEBRATING A JAZZ obscure jazz periodicals enhance Mr. Larson’s MASTER’S CENTENNIAL donation. FRIDAY, APRIL 8, 2005 —Mark Cave The Collection’s sixth annual Bill CURATORIAL Russell lecture will commemorate the avid jazz collector and historian’s For the third quarter of 2004 (July- 100th birthday with a panel discus- September), there were 23 curatorial dona- sion, moderated by Dr. Bruce Boyd tions, totaling 200 items. Raeburn, director of Tulane Univer- The campeachy or butaca chair, a form sity’s Hogan Jazz Archive. Panelists long associated with Louisiana’s colonial include Russell’s brother, William past, was introduced to the region during Wagner; pianist Tom McDermott; the period of Spain’s administration of the bandleader Barry Martyn; music pub- colony (1762-1800). Usually consisting of Bill Russell at the entrance to Preservation Hall, lisher Don Gillespie; and Benjamin a wooden frame supporting a low-slung April 1978 (92-48-L, MSS 520, f. 2248), Jaffe, manager of Preservation Hall. William Russell Jazz Collection, leather seat and back, the form remains Clarisse Claiborne Grima Fund purchase popular today. The Collection has acquired 13 STAFF INTERN UPDATE: RACHEL LYONS

IN THE COMMUNITY ince the early 1980s, The International House of Blues Priscilla Lawrence was named to the board Historic New Orleans Col- Foundation, where she initiated of trustees of the Alexandria Museum of Art. lection has hosted interns and executed condition reports Warren J. Woods was elected treasurer of the S from a variety of institutions, for the over 400 works of art on Southeastern Registrars Association. John both local and out of state. Dur- display in the House of Blues H. Lawrence was elected to the board of the ing 2004, interns came from New Orleans venue. Vieux Carré Property Owners, Residents, Louisiana State University, Loy- In 2000 Rachel became the and Associates. Pamela D. Arceneaux was ola University New Orleans, founding archivist for the New interviewed by Chum Television, Ltd., a Southeastern Louisiana University, Southern Orleans Jazz & Heritage Foundation, Toronto-based company, for a documentary University, and the University of Delaware. authoring and implementing archival poli- on Storyville. Mary Lou Christovich gave a The interns, who serve without pay, receive cies and procedures and beginning the seminar, “Tracing Louisiana Architecture,” at a thorough introduction to a museum/ process of inventorying, accessioning, and FORUM 2004, the annual meeting of the research facility. In addition, they are cataloguing the foundation’s musical heri- American Institute of Architecture Students. assigned projects that match their skills and tage collection. A significant resource for interests with the needs of The Collection. the study of New Orleans music, the collec- PUBLICATIONS In the spring and summer of 1997, tion includes more than 2,000 recordings John H. Lawrence, “The Parisian Photo- Rachel Lyons, an intern from the Loyola from the African, folk, food, and music graphs of Clarence John Laughlin,” in University history department, rehoused heritage stages at Jazz Fest and approxi- Clarence John Laughlin (exhibition cata- photographs in the William Russell Jazz mately 1,300 reel-to-reel tapes from logue) (Paris: Bernard Dudoignon, 2004). Collection and assisted the preparators in WWOZ’s formative years. While working CHANGES exhibition design and condition reporting. at NOJHF, Rachel Lyons completed the Cora Noorda, development assistant; Ann Rachel took the skills learned at THNOC master’s program in arts administration at Gilbert, docent department. to her position as folk-art interpreter at the the University of New Orleans.

THNOC provides internship opportunities for students in appropriate academic fields. Please address all inquiries to: Internship Opportunities, The Historic New Orleans Collection, 533 Royal Street, New Orleans, LA 70130. The Historic New Orleans Collection thanks the interns from the past year—Lisa Williams (Louisiana State University), Donna Price (Southern University), Lenora Costa (University of Delaware), Andrea Faber (Southeastern Louisiana University), and Hilary Hartje (Loyola University New Orleans).

Editors Jessica Dorman Lynn D. Adams, Mary C. Mees ON LOAN Head of Photography Jan White Brantley Additional photography by T he Historic New Orleans Collection lends materials from the permanent collection for spe- Keely Merritt cific periods of time to other private or public museums, historical organizations, or educa- The Historic New Orleans Collection tional agencies for use in temporary exhibitions. These institutions must comply with The Quarterly is published by The Historic New Orleans Collection, which is operated Collection’s security and environmental standards. by the Kemper and Leila Williams Foundation, a Louisiana nonprofit corpora- Materials from The Collection will be included in the following exhibitions: tion. Housed in a complex of historic build- ings in the French Quarter, facilities are open to the public, Tuesday through Saturday, Once in French America American Visions of Liberty & Freedom from 10:00 a.m. until 4:30 p.m. Tours of the history galleries and the Williams Residence Canadian Museum of Civilization Virginia Historical Society are available for a nominal fee. Hull, Québec Richmond, Virginia Board of Directors Mrs. William K. Christovich, Chairman Dates of loan: Dates of loan: John E. Walker, President May 17, 2004-April 30, 2005 October 1, 2004-February 28, 2005 Charles Snyder Fred M. Smith John Kallenborn Priscilla Lawrence, Executive Director Arti & Architettura, 1900-2000 Fourth Annual State Home Showcase of Art The Historic New Orleans Collection Palazzo Ducale Louisiana Governor’s Mansion 533 Royal Street Genoa, Italy Baton Rouge, Louisiana New Orleans, Louisiana 70130 (504) 523-4662 Dates of loan: Dates of loan: [email protected] • www.hnoc.org September 15, 2004-February 28, 2005 November 11, 2004-April 26, 2006 ISSN 0886-2109 © 2005 The Historic New Orleans Collection

14 THE SHOP PLEASE SEND Quantity Amount Order the ____ Charting Louisiana, $95.00 ______award-winning ____ Battle of Lake Borgne, $15.00 ______publication ____ Sketch of the Position of British and American Forces, $15.00 ______A Map of Part of West Florida, $15.00 ______Battle of New Orleans puzzle, $10.00 ______

Taxes as applicable 9% Orleans Parish ______4% other La. residents ______Subtotal ______Shipping and Handling Charting Louisiana, $11 ______Prints, $2 ______Puzzle, $3 ______Total Amount Due ______

Name______

Address______

City, State, Zip______

The Shop is offering a number of products commemorating The Collection’s year-long Telephone______celebration of the ties between Great Britain and Louisiana. In addition to a jigsaw puzzle __ Visa __ MasterCard __ Amex __ Discover of Battle of New Orleans by Dennis Malone Carter, matted prints of the following images __ Check or money order are available: a painting of the Battle of Lake Borgne by Thomas L. Hornbrook, a Sketch Account Number______of the Position of the British and American Forces prior to the Battle of New Orleans, and A Map of Part of West Florida from the early days of British exploration. The prints sell for Exp. Date______$15.00 and are matted to 11x14. The puzzle, which measures 5x7 when completed, sells Signature______for $10.00. Educational Outreach Update Continued Support from Entergy…Continued Teacher Training or the third year in a row, Entergy materials into standards-based curricula for ticipated in the American Perspectives work- has sponsored The Collection’s pro- middle and high school teachers. On shops, which are free and include lunch and Ffessional development workshops for November 1, middle school teachers stud- parking. For more information, call or middle and high school social-studies ied the War of 1812 and the Battle of New e-mail Sue Laudeman, (504) 598-7154, teachers in the Greater New Orleans area Orleans, examining documents, rare pam- [email protected]. with a grant from its Excellence in Educa- phlets and publications, and manuscript tion Foundation. Each year the American correspondence from the William C. Cook Perspectives workshops, which are part of War of 1812 in the South Collection. On The Collection’s Teaching American His- November 15 and January 24, high school CORRECTIONS tory in New Orleans (TAHINO) education teachers used primary sources to explore In the fall 2004 issue of the Quarterly, program, have expanded in size and scope. civil rights and the law in Louisiana, tracing Arsène LaCarrière Latour was misidenti- In the 2004-05 academic year, workshops the impact of legislation on slaves, free peo- fied as the maker of Sketch of the Position of the British and American Forces… are being offered to public, private, and ple of color, Native Americans, women, and (1971.98). The maker of this map is parochial school teachers in Orleans, Jeffer- other immigrant and minority groups in unknown. The caption for Capture of son, St. Bernard, St. Charles, and Plaque- the state. Upon completion of the full-day American Gun Vessels off New Orleans… mines Parishes. The workshops provide course, participants receive a certificate for incorrectly refers to the vessels surround- interactive classroom strategies for intro- eight hours of continuing learning units. ing the American gunboats as British ducing and integrating primary source To date, more than 350 teachers have par- brigs and sloops; they are in fact barges. 15 AT THE COLLECTION

Francesco Cardinal Marchisano, Archpriest of the Vatican Basilica of St. Peter, Vicar General for His Holiness, recently visited The Historic New Orleans Collection for a tour of the complex. Pictured in the director’s gallery are Bunny Hinckley, Monsignor Crosby Kern (rector of St. Louis Cathedral), the Vicar General, Priscilla Lawrence, John Lawrence, Martha Walker, John Walker, and Alfred Lemmon.

On Monday, November 1, members of the Christ Church Cathedral congregation gathered for a reception celebrating the opening of A Heritage of Faith: Christ Church Cathedral and Episcopal Louisiana, 1805-2005. Pictured are, first row, the Right Reverend James B. Brown (retired bishop of the diocese of Louisiana), Mark Cave, and the Very Reverend David A. DuPlantier (dean, Christ Church Cathedral); the Reverend Steven M. Roberts (canon, Christ Church Cathedral), Herbert N. Gant, Sarah Morris, and Wade Toth; Anne Gardiner, Virginia McIlhenny, and Martha Eshleman; second row, James Huger, Eugenie Huger, Susan Gundlach, and H. Merritt Lane III; Bill and Olive Forman, Priscilla Lawrence, and Mark Cave; Irvin Mayfield and Troy Bush.

KEMPER AND LEILA WILLIAMS FOUNDATION THE HISTORIC NEW ORLEANS COLLECTION Museum • Research Center • Publisher 533 Royal Street New Orleans, Louisiana 70130 (504) 523-4662 Visit the Collection on the Internet at www.hnoc.org ADDRESS SERVICE REQUESTED