THE HISTORIC NEW ORLEANS ·~· COLLECTION QUARTERLY nderstanding the spirit colors of each building and a map of the of a place is no easy Royal Street complex. The guide includes matter. How the photographs of architectural elements Collection is perceived and several interiors by Richard Sexton, comes in part from whose work illustrated New Orleans: combined images of Elegance and Decadence. The 24-page fine old buildings, publication, with soft cover and color courtyards, flagstones, illustrations throughout, was designed by carriageways, galleries, and the alluring Michael Ledet. Texts by Louise Hoffman presence of history - things tangible and describe each building. intangible. Front and back covers and the title The Buildings of the Historic New page introduce the theme of walls by Orleans Collection presents some of the using the creamy white bricks of the tangibles in a kind of self-portrait. The Louis Adam carriageway as a design ele pictorial guide to the nine structures that ment. The frontispiece, a photograph of house the Collection was published in the Royal Street carriageway, extends an May. Illustrations depict the Merieult invitation to turn the pages of the guide House, Counting House, Maisonette, and to discover each building as it leads Townhouse, Williams Residence, Louis the way to another, and yet another. The Adam House, and Creole Cottage, all walls, exterior and interior, depicted both located on Royal and Toulouse streets; the in photograph and drawing, suggest a new Research Center on Chartres Street; long history. The Buildings of the Historic and the Gallier Warehouse on New Orleans Collection - the bricks and T choupi toulas Street. mortar, stucco, wood, and stone - is an Artist Jim Blanchard, known for his introduction to what may be called the architectural drawings, provided water- spirit of place.
"The Merieult House on Royal Street, solidly anchored Cover, carriageway ofthe by its granite pillars, serves as the entrance to the Merieult House by Richard Sexton; above, the Collections buildings on Toulouse Street: (from left) intricate web ofbuiklings and courtyards that Townhouse, Williams Residence, Louis Adam House, and Creole make up the Historic New Orleans Collection. Cottage, watercolor by Jim Blanchard (1993.38.2); right, The Buildings of The house dates from the eighteenth century and the Historic New Orleans Collection was published in May. occupies land that has been in continuous use since the early days ofthe colony in the 1720s."
- from The Buiklings ofthe Historic New Orleans Collection
2 3 Left, techniques far polishing silver are included in Preservation Guide 7: Silver; right, the Collection's guide to the Laussat Papers received SILVER an award from the Southeastern Library Association. GUIDE PUBLISHED AWARD WINNER The silver guide - Preservation Guide 7: The Collection received word in the The most recent publications, The Silver - is the latest publication in the spring that A Guide to the Papers ofPierre Buildings of the Historic New Orleans Collection's preservation series. Maureen Clement Laussat, published in 1993, won Collection and Preservation Guide 7: Silver, Donnelly, curator of the Williams an award of excellence in the Southern together with A Guide to the Papers ofPierre Residence, has written an informative Books Competition of the Southeastern Clement Laussat, are part of an on-going text about the "queen of metals." The Library Association. Besides publishing a publications program. The importance of rich black-and-white photographs by brochure listing the winners, the associa books - to inform, to inspire, for enjoy Jan White Brantley capture the refine tion will add Laussat to the permanent ment - was aptly summed up by Richard ment of the metal in such pieces as a collection of the King Library of the Marek, speaker at the winter meeting of the two-handled cup, 1763; a centerpiece University of Kentucky. Another copy Publishers Association of the South: bowl, ca. 1800; and a table ornament, will be part of a traveling exhibit that is "Books are our most miraculous artifacts with ostrich and cupid, ca. 1890. circulated until next year's winners are because they more directly express art and Subjects addressed in the guide are announced. ideas than any other medium." contaminants, handling, cleaning and The book was edited by Jon Kukla The books are available at the polishing ("Because even the finest polish and designed by Michael Ledet. The Shop at the Collection. (See page 15 is abrasive, each cleaning removes a layer Collection has received two previous for more details.) of this very soft metal and results in loss awards in the Southern Books of surface detail"), storage, and environ Competition for Bound to Please: Selected ment. Warnings, detailed instructions for Rare Books About Louisiana from the tarnish removal, and practical advice are Historic New Orleans Collection (1982) offered up in this guide for readers who and Southern Travels: journal ofJohn H B. own and appreciate fine silver. Latrobe, 1834(1986).
4 From The
DIRECTOR
ike fossil-bear Ling rock, lan guage is embedded with patterns from earlier times. The word development, for example, carries into our age a meaning that was already old when LaSalle disvelopped the Bourbon colors of Louis XIV to lay claim to Louisiana. "Disvelopping," John Guillim advised in the 1660 edition of A Display of Heraldrie, "is the proper term for spread ing or displaying of the Martial Ensign." This summer and autumn, friends and visitors will examine the historic development of New Orleans from several perspectives - each reflecting ancient Past and present chairs ofthe Williams Prizes Committee, Florence Jumonville and Jon Kukla nuances embedded in the word. Our summer exhibition, From Bank to Shore, traces the city's growth from 1800 to AN EYE ON TuE PRIZE 1960, first along the high ground up river and downriver from the Vieux LORENCE JUMONVILLE, chairman of prevented him from attending the dinner. Carre. Then, like a pennant attached to Fthe Williams Prizes Committee for Usually all goes smoothly. But at last the Mississippi, the city unfurled itself the past 12 years, says that the prizes - year's banquet Ann Patton Malone was disvelopped itself - to the shores of one for best publication, one for best surprised to hear her name announced - Lake Pontchartrain. unpublished manuscript - have come of the letter informing her of the prize had In mid-September the Collection age. The highly esteemed awards, initiated gone astray. looks at another kind of development as in 1974, have been around long enough to Her favorite winners? Miss we welcome The Grand American allow several repeat winners: Ed Haas, Jumonville mentions Confederate Neckties Avenue, 1850-1920 from the Octagon Michael Kurtz, and Terry Jones. With · by Lawrence Estaville, Parnassus on the Museum to its first stop on a national the announcement of the 1993 winning Mississippi by Thomas Cutrer, and Earl K tour. The elegant mansions, churches, publication, Righteous Lives, this past Long: The Saga ofUnck Earl and Louisiana and schools of St. Charles Avenue March, Florence Jumonville stepped down Politics by Michael Kurtz and Morgan (and its counterparts in Chicago, Cleve as the committee's chair and handed over Peoples. Some authors have submitted land, Los Angeles, New York, and her duties to Dr. Jon Kukla, director of the several entries over the years and finally Washington, D.C.) reached a pinnacle of Historic New Orleans Collection. won. "That has always pleased me - Gilded Age urban development. Thinking back over her tenure, she someone eventually taking a prize home." Prairie and Euclid avenues are now notes several trends. There has been an - Louise C Hoffman virtually gone. Wilshire Boulevard, Fifth increase in the number of publications Avenue, and Massachusetts Avenue are about Louisiana, she says, and the win drastically changed. St. Charles Avenue ning authors - now more spread out Z. endures. Development suggests homoge geographically - often choose to write IM LACY ROGERS received the 1993 nized malls and atriums built on the ruins about the 18th and the 20th centuries. KGeneral L. Kemper Williams Prize in of distinctive regional architecture. The prizes, sponsored by the Louisiana History for her book Righteous Historic neighborhoods in New Orleans Collection in conjunction with the Lives: Narratives of the New Orkam Civil are also threatened by this newest connota Louisiana Historical Association, are pre Rights Movement (New York: New York tion for our ancient word, because our nar sented at the banquet of the LHA annual University Press, 1993). The award was row streets and grand avenues abound with meeting. Miss Jumonville recalls the year presented by Florence Jumonville on architectural treasures worth preserving. she received an orchid corsage from the March 18 in New Iberia at the Louisiana -]on Kukla Williams Prize winner whose illness (Continued on page 6)
5 historic complexity of race relations pro the activists described "the subjective moted different perceptions of African experience of interracial leadership" and American liberation ... , perceptions "the developmental processes that led [that] were rooted in the strength and them to work for a different racial future diversity of the city's black and white than that dictated by Southern tradition." Creole cultures, in its African-Caribbean The activists recalled their victories, as traditions, and in a mythology of 'harmo well as their often grave disappointments nious' race relations based on both wide with more recent political history. "Their spread miscegenation and less intimate stories - and their lives - give flesh and forms of race mixing." voices to the process of racial change," During the 1950s, black protests wrote Rogers. Often dramatic, intense, burgeoned throughout the South and and emotional, the experiences recounted black leadership changed. Rogers writes here chronicle events important in that accommodating leaders "who had Louisiana history from the standpoint of begged for favors from segregationist persons who touched that history and, white elites" were succeeded by "racial conversely, found that their own lives had (Continued ftom page 5) diplomats who were usually urbane, col been touched by it. Historical Association's annual banquet. lege-educated professionals, .. . race men, Both books and manuscripts are eli In Righteous Lives, Rogers "traces the who impatiently demanded their full gible for Williams Prizes, although no risks, triumphs, and disappointments" rights as citizens, . .. [and] militant stu award was made in the latter category this that characterized three generations of dent and student-aged protestors who year. Offered annually since 197 4 by the both white and black activists who led the swept into direct-action protests in 1960." Historic New Orleans Collection in coop civil rights movement in New Orleans A small group of white liberals and radicals eration with the Louisiana Historical during the 1950s and 1960s. "It is a col of diverse backgrounds and perspectives Association, the prizes encourage research lective biography of explicitly political also helped "to decompress the tensions and writing about Louisiana history and lives," she writes, "but it is also a chroni that accompanied desegregation in the recognize excellence in scholarship. cle of individual and collective responses ethnic mosaic of New Orleans." Inquiries and entries for 1994 may be to segregation in a very distinctive place: a Based on interviews, supplemented directed to Dr. Jon Kukla, Chair, General highly cultured, European- and Latin by other primary and secondary sources, L. Kemper Williams Prizes Committee, influenced city in the Deep South. The Righteous Lives "relates the stories of the Historic New Orleans Collection, 533 history of New Orleans shaped the con twenty-five black and white leaders of the Royal Street, New Orleans, Louisiana text of its civil rights struggle. The 1950s and 1960s." In these interviews, 70130; telephone 504-523-4662.
THE GRAND AMERICAN AVENUE: 1850-1920 opens at the Collection September 13. The traveling exhibition, organized in Washington, D.C. , b y the Octagon Museum of the American Architectural Foundation with major support from the Lila Wallace-Reader's Digest Fund, offers a look at the great thor oughfares in six American cities including St. Charles Avenue in New Orleans. The exhibition will focus on the architecture, urban develop ment, and social history of the avenues.
Pos tcard view, one of the grand houses on St. Charles Avenue (I 982.72.1)
6 fortune in being placed in such Documentary evidence accumulated. distinguished juxtaposition." Soule was a friend and business associate These little mysteries nag the of Eugene's father, Daniel Samuel researcher, refusing to go away without a Warburg, a member of a distinguished solution. Soule's passionate advocacy of German-Jewish family and a successful slavery is well known. Why did he write commission merchant and real estate the recommendation for Warburg? In the developer in New Orleans. Soule, an 1850s his political career was built on the attorney, represented the elder Warburg extension of slavery into new territories; in at least one legal case and was associated he had tirelessly warned of the with him in numerous property impending danger to the South ~,.. -<-e ;:,,.,., • transactions. Eugene's mother john Y. Mason by Eugene Warburg. of" immense numbers" of free l)' ' was Daniel Warburg's slave, a Courtesy Virginia Historical Society blacks in Cuba. No wonder ·. · West Indian mulatto named the Crescent was taken Marie Rose Blondeau. After aback to find him writing Eugene was born into ORI SANDERS tells of the genesis of favorably about a free, slavery, Warburg freed Dher moving novel, Clover. Selling independent, and talented Blondeau, and the couple peaches by the side of the road to the black man. had several other children, cemetery, she saw a funeral procession Further research born free. drive by; a little black girl with her nose revealed that the letter was One crucial document pressed to the car window waved. Later not the only way Soule sup clarifies the depth of the rela that day, another procession passed, and a ported Warburg's career. He also tionship with Pierre Soule. Early in white woman locked somber gazes with arranged for the sculptor's most Pierre Soule 1830 Warburg gained permission Sanders. Her imagination wouldn't leave important European commission. from the Orleans Parish police jury those two mourners alone. What if?What While serving as U.S. Minister to Spain to free his four-year-old son; to complete would it take to bring them together? in 1854, he and John Young Mason of the emancipation, however, he had to sat Fiction reflects the improbable reality Virginia, U.S. Minister to France, met isfy the authorities that Eugene would not of history, where unlikely lives actually frequently as they drafted the Ostend become a burden on the parish. On intertwine. But the historian's imagina Manifesto, a plan for the American February 9, 1830, Soule joined Warburg tion is bound by fact. What if? is replaced acquisition of Cuba, which, Soule as guarantor of the little boy's future. The by Why?Why, for instance, did one of the argued, would avoid a feared influx of two men posted a $500 bond (a consider nation's most vigorous exponents of slav free blacks to the island and its able sum) and pledged to provide for ery patronize the artistic career of a free ''Africanization." Paradoxically, during Eugene until he came of age, to teach him man of color? that time he introduced Warburg to to read and write, and to educate him in a The New Orleans Daily Crescent of Mason, and the African-American artist trade so that he could support himself. December 26, 1857, headlined a short sculpted a fine portrait bust of Mason, Soule was in effect the boy's godfather, article, "A Colored Artist," reporting on Warburg's masterwork and today his and despite his increasingly conservative ,, the arrival in Florence, Italy, of Eugene only known extant sculpture. views, fostered Eugene Warburg's career Warburg, a native New Orleanian and Earlier in New Orleans, too, there is a for the rest of his life. sculptor who had studied and worked for suggestion of Soule's patronage of The answer to the question - Why? the past five years in Europe. He carried Warburg. Soule was one of the earliest sit - sparked by a simple letter of recom letters of recommendation from two dis ters for a series of celebrity portrait busts by mendation illuminates the ambiguity and tinguished abolitionists - the Duchess of the French sculptor Philippe Garbeille complexity that marked relationships Sutherland and her friend, Harriet when he came to the city in 1841. Shortly between free people of color and whites in Beecher Stowe (no surprises, so far) - afterward, Garbeille, an artist who had antebellum New Orleans. Sometimes the and from Pierre Soule, pro-slavery studied with the most noted European heart overrules doctrine in favor of friend Louisiana politician. The notoriously masters, was induced to accept the youth ship and loyalty. race-baiting Crescent sneered, "We ful Eugene Warburg as a student, probably congratulate Mr. Soule upon his good through Soule's influence. - Patricia Brady
7 WRITING AGAIN 0 Writing again meracan asle after 7yrs isn't as good as youth whose last flush you , were to me sweetheart but it beats hell out ofbaseball - Everette Maddox
was titled American Waste, introduced with an illuminating, sympathetic fore word by poet Ralph Adamo and pub lished by Portals Press in 1993. Later that year, the poet's brother William Maddox and the other custodians of the disheveled manuscript donated the bundle of rough pages to the Collection. The poems are irresistibly engaging. Maddox's themes vary. He writes with a humorous resignation about alcoholism and bar life, his voice pitiable but never submerged in self-pity. He acknowledges in himself an unquenchable, almost adolescent lust which remains forever unrequited. He occasionally embraces the romance of southern culture, but he just as frequently lampoons it. Maddox - the Everette Maddox wrote poems on every available scrap ofpaper (94-19-L). former English instructor - also perpet ually toys with the language itself, finding the ironic possibilities in broken phrases OET EV ERETTE MADDOX died in ing. In that final creative outpouring, and using unlikely syntax in practically P1989 of the combined effects of Maddox produced upwards of 100 poems every poem. ] tobacco, excessive alcohol, and deficient and poem fragments. These he wrote and But in addition to the text, the phys nutrition. He was 44 years old and had rewrote in a quaking hand on any avail ical manuscript is a poignant and resonant spent better than a decade without a regu able scrap of paper. He entrusted this artifact. Cocooned within a worn lar home. He lived instead in the marginal accumulation of work to his friend and Roubion Tile and Marble Co. paper sack shelter of the saloons, stoops, and door publisher Hank Staples, who stored the are writings on the backs of Abita beer ways of a few square blocks of the writing in a paper bag atop his bedroom coasters, fluorescent pink cash-register Carrollton area of Uptown New Orleans. bureau. Soon afrer Maddox's death, this receipts, photocopies of flyers announc In the last months of his life, in obviously gathering of bits of paper was sorted and ing musical groups such as the Fuzzy declining health, Maddox surprised those carefully edited by a committee of Slippers from Hell or Shot Down in who knew him by returning to his writ- Maddox's friends. The edited collection Ecuador Jr. appearing at Muddy Waters
8 or Carrollton Station or the Maple Leaf Bar, a portion of a corrugated cardboard box, plain white paper napkins (perhaps from the Steak 'N Eggs?), pages from a prescription pad advertising something called Noroxin, and lined five-by-eight cards. This collection of soiled and tat tered hand-written drafts embodies a rare unity of content, form, material, and even geographical reference. The hand penned document contains much of the same spirit as the poetry itself In addition to Maddox's writings, the Collection received the poet's collection of original and photocopied handbills announcing the many readings in the Maple Leaf poetry series over the years. This regularly scheduled reading, presented on Sunday afternoons in the bar's patio since 1980, is said to be the longest run ning poetry series in the South. Maddox was the host of the series from its
Maddox poems on Abita beer coasters inception until his death. The collection of brightly colored flyers features readings by local literary figures such as Andrei Codrescu, Robert Olen Butler, and Julie Kane, and many other accomplished and aspiring writers. There are also announce ments of annual open-mike readings: the "Boring" reading, the "Mardi Gras Extravaganza," the "April Fools Who Can Read, Can Read" reading, and others. Like the poetry manuscript, the some times energetic, sometimes lackadaisical appearance of the announcements them selves echoes the uneven quality of the poetry series. Everette Maddox's last book of poetry 1 is rich with humor, but it is more burdened with pathos. The odd, 1 unkempt manuscript is even further redolent of regret. The phrase American Waste - which was emblazoned on the side of a trash container on Oak Street - was chosen by Maddox before his death as a possible title for his next book. He Handbills ftom probably suspected that it would become poetry readings at the Maple a defacto epitaph as well. Lea/Bar - Doug MacCash
9 THE HISTORIC NEW ORLEANS COLLECTION encourages research in the library, manuscripts, and curatorial divisions of its research center from 10:00 a.m. to 4:30 p.m. Tuesday through Saturday (except holidays). Cataloged materials available to researchers include books, manuscripts, paintings, prints, drawings, maps, pho tographs, and artifacts about the history and culture of New Orleans, Louisiana, and the Gulf South. Each year the Collection adds thousands of items to its holdings by donation or purchase. Only a few recent acquisitions can be noted here.
CURATORIAL Five watercolor paintings by Boyd Cruise, a bequest from Samuel Wilson, Jr., depict buildings on the properties of the Houmas House and Uncle Sam planta tions. The paintings, which date from a period when Cruise and Wilson were involved with the Historic American Buildings Survey, are executed in a looser style than is usually found in Cruise works. Also received through a bequest, from Henry Stern, were two engravings of the Battle of New Orleans. • Dr. and Mrs. Robert Judice have given an architectural plan, drawn in 1819, for the facade of the second Ursuline Convent. Although this scheme does not resemble the structure that was eventually Williams is a recent gift of J. Parham Houmas House, garronniere by Boyd Cruise built (and later demolished for the Werlein, Jr. The image, accompanied by a (1994.1.3) Industrial Canal), it may represent an letter, was sent to Mr. Werlein's father in alternative plan for the second convent. 1932 as a token of friendship. The formal • A photographic portrait of the 8x10-inch black-and-white portrait is the Collection's co-founder L. Kemper work of Frank B. Moore of New Orleans. Plan of Ursuline Convent (1994.2)
,,.,,·,11-tu: 1•r I.~ o,,.,,.... , •••\W- m ,r:nt' 10 General L. Kemper Williams by Frank B. Moore (1994.17) • Two separate donations add to the group of portraits of artists in the hold ings. Irwin Buffet has given a photograph of his friend, New Orleans photographer Eugene Delcroix, whose work was exhib ited (January - May 1994) in the Williams Gallery. The 1950s portrait shows Delcroix standing next to his tri pod-mounted Korona view camera. Ben C. Toledano has given a photo graphic portrait (ca. 1886) of Blanche Blanchard, a painter active in local and Uncle Sam Plantation, pigeonnier by Boyd Cruise (1994.1.2) regional art associations during the last quarter of the 19th century. In 1992, the Collection acquired a portrait of Major time by A. Lucini of Florence, the chart battle between Confederate forces and the William J. Behan by Blanchard. shows this territory some 35 years prior to Union fleet in the spring of 1862. • John F. Clemmer donated artwork by La Salle's descent of the Mississippi River • The Collection regularly receives gifts local artists and photographers from the to its mouth. The chart is based on of New Orleans materials from other insti 1920s through 1950 , as well as knowledge gathered from Dudley's own tutions. Two of these recent gifts augment announcements for Arts and Crafts Club voyages and those of his countrymen. It is the Collection's holdings of postcards. The exhibitions. Clemmer, formerly the direc the first sea atlas produced by an Dacotah Prairie Museum of Aberdeen, tor of the Newcomb College Department Englishman, the first with all charts based South Dakota, has given views of New of Art, was both a student and director of on Mercator's projection, and the first Orleans during the first decade of the 20th the art school of the Club. with charts containing information on century; the San Bernardino County • An important addition has been made the prevailing winds. Museum in Redlands, California, has to the department's holdings of carto • Another cartographic item is the gift given views from the mid-20th century. graphic items through the acquisition of of Dr. Edward J. Lazarus. Reconnaissance - Judith H Bonner andJohn H Lawrence Carta particolare della Baio di Messico. of the Mississippi River is a derailed topo This chart from the first edition of the graphic and hydrographic depiction of atlas Arcano def Mare (1647-1667) the Mississippi showing Fort Jackson and MANUSCRIPTS depicts the Caribbean basin and the Gulf Fort St. Philip and adjacent lands, some The physical transformation of New of Mexico. Compiled by English explorer 65 miles below New Orleans. One sec Orleans during the past two centuries is Sir Robert Dudley and executed in the tion of the plan concentrates on the dam evident in maps, surveys, and properry finest Italian copperplate engraving of the age done to the forts during the ferocious records. Charles Trudeau was surveyor 11 pers, 1872 election bal Orleans playwright and educator, contain loting notes, insurance examples of mid-19th century literature. policies, court records, An 1849 article in the New Orleans diaries, pamphlets, Weekly Delta provides a colorful sketch of telegrams, maps, tax Harby as a candidate for the Fourth receipts, poetry, valen District Court. Born in Charleston, tines, and painted fabric South Carolina, Harby was an editor and hangings. The majority publisher, who served in Latin American of the donation relates navies. His travels ended in New Orleans to Francis A. Woolfley where he devoted himself to the educa who served in numerous tion of boys and worked to pass a law public-service positions. establishing public schools throughout Between 1864 and 1873 the state. In addition to manuscripts of he was clerk of the plays, the papers include addresses, lec Third District and Fifth tures, essays, correspondence drafts, and District courts of New poems composed between the years 1834 Orleans and the U.S. and 1855. Circuit Court, supervi sor of 1868 and 1872 - M Theresa LeFevre elections, notary public, U.S. Commissioner, and Chief Deputy U.S. ffi THE HISTORIC Marshall. Researchers of ~ NEW ORLEANS the volatile Recon ,~, COLLECTION struction period will Valentine from Dufour-Woo/fiey Papers (94-24-L) find documents relating 1~ QUARTERLY to the Warmoth arrest Editors: Patricia Brady general for Spanish Louisiana from the after the Custom House legislative strug Lo uise C. Hoffman early 1780s until 1805. While examples gle, notes on 1872 election irregularities, of his surveys remain in other reposito and correspondence with S. B. Packard Head of Photography: Jan W hite Brantley ries, three recently acquired letters written and Judge W B. Woods. T he Historic New O rl ea ns Collection by Trudeau in 1809 provide first-hand The collection contains an album Quarterly is publis hed by the Histori c New information concerning Spanish proce with poems, a sketch, and inserted mate Orleans Coll ection, which is operated dure when surveying rivers and bayous rials which belonged to Marie Adele by the Ke mpe r a nd Le il a Williams and the Spanish colonial policy toward Donner, wife of Numa Dufour (1821- Foundation, a Louisiana nonprofit corpora tion. Housed in a complex of historic build Indian settlement. This acquisition com 1894), editor and co-proprietor of ings in the French Quarter, fac ilities are plements previously acquired holdings L'Abeille de La Nouvelle-Orleans ( The Bee), open to the public, Tues day through which chronicle the physical develop the leading 19th-century French language Saturday, from 10:00 a.m. until 4:45 p.m. ment of New Orleans. newspaper in the city. Marie Adele Tours of the history galleries and the resi dence are avail able for a nominal fee. Volume 9 of Manuscripts Division Donner was the niece of Dominique Update includes information on land Rouquette, Jr., and Fr. Adrien Rouquette, Board of Directors: records such as the early 19th-century two early Louisiana poets. Also included Mrs. William K. Christovich, President survey books of Barthelemy Lafon, the is the certificate documenting admission G. Henry Pierson, Jr. Francis C. Doyle 19th- and 20th-century land surveys and to the Louisiana Bar of Numa Dufour's John E. Walker architectural drawings from Lawyers brother, essayist Cyprien Dufour. Fred M. Smith Title, and microfilm copies of the Two 1840s mixed-media, multi-layered Sanborn Fire Insurance Maps. valentines sent to Elizabeth Lloyd House Jon Kukla, Director • Mid-19th-century political and social are remarkably well preserved. A fabric The Historic New Orleans Collection history are contained in the papers of the covered book with lace border holds two 533 Royal Street Dufour and Woolf1ey families, 1817- distinctive hangings (painted cloth pieces New Orleans, Louisiana 701 30 1859, d_onated by Dufour Woolfley. made for wall display). The hand-painted (5 04) 523-4662 Included in the extensive papers are the colors of both the hangings and the valen ISSN 0886-2109 © 1994 following items: correspondence, finan tines remain vivid. The Historic New Orleans Collection cial records, legal publications, newspa- • The papers of George W Harby, New 12 the notorious guide to Storyville's elite. DONORS • Les Crimes des Rois de Fran ce, Depuis Clovis jusqu 'a Louis Seize (Paris, 1791), a JANUARY - MARCH 1994 now-scarce work, expresses the senti ments of French revolutionaries against Ralph Adamo AmzieAdams ARREST the monarchy, particularly the rule of Arts Council of New Orleans DU CONS E I L D'E ST AT Louis XVI. The book contains the label Marilyn Barnett DU ROY, of New Orleans bookseller, Victor Sarah V. Bohlen Dr. Thomas Bonner, Jr. eui Ord11nn, 9u 'il r.e fit11 p/11.1 ,,m,JI tk Iln;;ahrrds, G,,u Hebert, indicating that it was sold local faM ,:w1U, Fio111deurs O'.' C,imir11b ti fa LJ.>iijiwme; Q~e Dr. Patricia Brady lu ordus 'P'' S.u A1111!flJ auroit ru d,mntr d a Ju111 ly. It was donated by Verne T. Clark in fmmr t'h,n,g"l , £, la drJIJ,u11i~" defdits V11t<1/tondr/11il# Tommy Brown f01IT lu ""''" Cobniu F,611j,,ftJ. memory of John A. Mahe II. Iiwin Buffet Du ,- May 1710. • Architectural historian Samuel Virginia Friedrichs Burke E,ttrait du R,gijlus "'1 C,,,,fri/ ti EJM. Wilson, Jr., who died in October 1993, Mrs. John W. Calhoun E ROY cftain informC quc la Comp3Pic de,; Tnd'es d1 co tR.a1 de faire u:n-aillcr p1omp1cmtnt a la Cultu Mrs. William K. Christovich re&:L audchidi 13 tributed a book review to the spring STAFF issue of Louisiana History. Judith H. Bonner, curator, was a contributing PROFESSIONAL ACTMTIES author to a conversation on painter John Maureen Donnelly, curator of the McCrady that was published in Xavier Williams Residence, participated in a Review. panel, "Caring for Museum Collections: Sally Stassi Preventive Conservation," at the annual meeting of the Louisiana Association of Museums. Sue Laudeman, shop manag er, was a panelist on "Museum Shops: Issues of the Day," at LAM. Dr. Jon Kukla spoke about the William Russell Jazz Collection at the annual meeting of the Louisiana Historical Association. John H. Margot Pleasants Lawrence, director of museum programs , Doug MacCash, head CHANGES Nancy Ruck. Margot Pleasants is a preparator, and Jon Kukla attended Docent Sally Stassi has assumed volunteer in the education department. the Washington, D.C., opening of The duties as a curatorial assistant. GrandAmericanAvenue: 1850-1920, the INTERNSHIP PROGRAM exhibition at the Octagon Museum of MEDIA Abby Goldman (Tulane University) the American Architectural Foundation. Jon Kukla spoke about New is an intern in the manuscripts division Dr. Patricia Brady, director of pub Orleans on a nationally televised pro for the summer. lications, was one of the writers appear gram about the city on the E! ing at Friends Fest, the fund-raising Entertainment Network. Patricia Brady Abby Goldman event of the Friends of the New Orleans discussed Louisiana history books on the Public Library. Dr. Alfred E. Lemmon, WYES program "Steppin' Out" and curator of manuscripts, spoke on collect talked about the New Orleans literary ing and preserving state historical docu scene on Cox Cable's "Town Meeting, mentation at "For History's Sake: State Louisiana Style." John H. Lawrence was Historical Collections in the Early interviewed about the exhibition Republic," a conference in Chapel Hill Through a Lem Softly: The Photographs of commemorating the 150th anniversary Eugene Delcroix on WWNO's "Inside of the North Carolina Collection, spon the Arts." sored by the North Carolina Society. John Lawrence and Priscilla Lawrence, collections manager, attended the annual meeting of the American Association of Museums in Seattle; Mrs. Lawrence participated in a session on disaster preparedness. Carol 0. Bartels, manuscripts cata loger, attended an advanced archival appraisal workshop at the University of Texas at Austin and spoke at the session "Microfilming Across Borders" at the annual meeting of the Society of N. n Ruck, and Charles Sale Dr. Harry Redman, Jr., a cy Southwest Archivists in El Paso. Pamela Arceneaux PUBLICATIONS "Free People of Color in 19th VOLUNTEERS SPEECHES Century New Orleans" by Patricia Volunteers in the manuscripts divi Bettie Pendley, education depart Brady appeared in the 20th anniversary sion are Charles Sale, Dr. Harry ment, spoke about archaeology co issue of Preservation in Print. She con- Redman, Jr. , Dr. George Reinecke, and the historic preservation class in the 14 College of Urban and Public Affairs at the University of New Orleans and to the restoration committee of the Hermann-Grima Historic House. Pamela D. Arceneaux, reference librarian, gave a rchitectural elements slide lecture on voodoo in New Orleans A such as columns, capi to the Methodist Men's Fellowship of tals, pediments, and freizes St. Matthew's Church. She also gave are the inspiration for a slide lectures on prostitution in New number of pieces of fine jew Orleans to the New Orleans Chapter of elry in the shop. The jewelry, Romance Writers of America and to the distinguished by classical Vieux Carre Property Owners, Residents, details and careful crafts and Associates. manship, reinforces the Patricia Brady spoke to the New theme of the fall exhibition Orleans Genealogical Society and to the The Grand American Avenue. New Orleans Library Club. Jon Kukla spoke at the annual dinner meeting of the Louisiana Society of Colonial Wars and at the luncheon meetings of the French American Chamber of Commerce and the Sons of Confederate Veterans. John Lawrence gave a presentation on the exhi bition The Grand American Avenue to the Orleans Club. r------, NEW PUBLICATIONS AVAILABLE The Buildings ofthe Historic New Orleans Collection, a pictorial guide, 24 pages, paper. PLEASE SEND ___copies of The Buildings ofthe Historic New Orleans Collection @ $9.00 ... $__ _ Preservation Guide 7: Silver, 16 pages, paper. ___copies of Preservation Guide 7· Silver @ $3.95 ...... $__ _ A Guide to the Papers ofPierre Clement Laussat, 192 pages, paper. ___copi es of A Guide to the Papers ofPi erre Clement Laussat @ $20.00 ...... $__ _ Subtotal ...... $. ___ Shipping and handling ($1.50 per copy, Buildings and Silver; $2.50, Laussat) ...... $__ _ 9% tax, Orleans Parish ...... $__ _ 4% tax, other LA residents ...... $__ _ FROM BANK TO TOTAL AMOUNT DUE ...... $.__ _ Please print SHORE CONTINUES Name From Bank to Shore: The Growth ofNew Address Orleans Neighborhoods, 1800-1960, on display in the Williams Gallery until City State Zip August 27, features a touch-screen com D MasterCard D VISA D Check or money order puter, demonstrated above by exhibition coordinator John Magill. The hands-on Acct. Number Exp. date program allows visitors to follow the city's expansion and the growth of select Signature ed neighborhoods. 15 BAKED BANANAS Choose with an inspired eye and hand 6 or 8 fine large bananas, without spots that tell us the bananas are ripe. These should be on the other side, but not green. Peel the fruit and cut it in two lengthwise. Put the halves in a but tered shallow glass baking dish. They shouldn't cuddle up like Babes in the Wood, but be well separated. Now cook to a fairly light sirup the juice of 3 juicy lemons - about 1/2 cup - 1 table spoon butter and 1 cup sugar. When the sugar is dissolved and the sirup begins to simmer, taste it - may be too sour. Depends on the lemons. It shouldn't bite the Houmas House by Boyd Cruise (1994.1.4} tongue or make the teeth curl, nor should it be too sweet. Pour the sirup over the bananas and bake in an oven at 350 F. until the fruit is he Collection continues to receive donations of objects that relate to its first director, tender - app. a half hour - when Tartist Boyd Cruise. Information is available on over 300 works by Mr. Cruise, who died in 1988. The Cruise archive was recently augmented by several watercolors, a bequest from done the bananas and sirup should Samuel Wilson, Jr. (see page 10), and by a recipe, written by Mr. Cruise in a graceful style, be an attractive and delicate shade typed, and given to his friend Wilson G. Duprey in 1973. of rose. Non Profit THE HISTORIC Organization U.S. Postage NEW ORLEANS PAID New Orleans, LA COLLECTION Permit No. 863 QUARTERLY KEMPER AND LEILA WILLIAMS FOUNDATION THE HISTORIC NEW ORLEANS COLLECTION Museum • Research Center • Publisher 533 Royal Street New Orleans, Louisiana 70130 (504) 523-4662 ADDRESS CORRECTION REQUESTED