THE HISTORIC NEW ORLEANS COLLECTION INSIDE

On the Job...... 6 Noel Rockmore...... 10 Acquisitions...... 17

Volume XXX Number 4 Fall 2013 QUARTERLY T he Major General Benjamin F. Butler, known in New Orleans as the reviled “Beast” Butler, was a favorite subject for political Echoes of War, cartoonists. Thoughtful portraits of the general, such as this 1885 wood engraving based on a wartime photograph from Portents of Peace 1864, are rare. (THNOC, 1974.25.27.54) New exhibition revisits the occupation of New Orleans

ew Orleans, the largest and most that preceded the city’s surrender. The below New Orleans—to an intimate collections, including the Murphy Mayor John T. Monroe, who oversaw a prosperous city in the antebel- fall of Forts Jackson and St. Philip, series of sketches by William Waud, Family Papers (MSS 270), the Walton- relatively safe incursion of Union troops Nlum Deep South, spent most of downriver from New Orleans, cleared artist-correspondent for the popular Glenny Family Papers (MSS 135), the St. into the city, and William B. Mumford, the Civil War in fetters. Occupied the way for the arrival of occupying periodical Frank Leslie’s Illustrated Anna’s Asylum Papers (MSS 641), and who was hanged in June 1862 for tear- by Union troops in late April 1862, forces commanded by Major General Newspaper. To illuminate the experi- the newly acquired Henry Ross Papers ing an American flag from its perch Occupy New Orleans! the city emerged from the conflict Benjamin F. Butler, who arrived in ence of occupation, the exhibition culls (2012.0384). These materials are com- above the US Mint in defiance of the Voices from the Civil War with its infrastructure intact but its the city on May 1. Display items first-person perspectives of wartime plemented by loans from the Library of Union occupation. Their stories intersect psyche fractured. Occupy New Orleans! range from the monumental—painter New Orleans’s citizens and visitors. Congress in Washington, DC, and New with those of lesser-known characters On view October 1, 2013, Voices from the Civil War taps the Mauritz Frederik De Haas’s panoramic Many of these voices emerge from Orleans’s own Civil War Museum. Those such as Henry Ross, Isabel Walton through March 9, 2014

experiences of ordinary men and view of Farragut’s Fleet Passing the Forts the pages of THNOC manuscript seeking a nuts-and-bolts account of mili- Waldo, Isachar Zacharie, and James ON VIEW women—Northerners and Southerners tary operations across the Gulf South will Cross Murphy. In the Williams Gallery, alike—to tell the story of the war also want to sample an interactive time- Captain Henry Ross of the 4th 533 Royal St. years. Exhibition visitors will discover Above: The New Orleans Market—Soldiers Exchanging Rations for Fruit, Etc. (from line on the gallery’s resource computer. Wisconsin Volunteer Cavalry was that these 19th-century voices sound Harper’s Weekly); January 24, 1863; print; by Theodore Russell Davis, illustrator, and Among the individuals represented among the occupying forces to enter Tuesday–Saturday, remarkably modern, for debates over Gretchen Lansford, watercolorist; THNOC, 1974.25.9.25 in Occupy New Orleans!—through cor- the city with General Butler on May 1, 9:30 a.m.–4:30 p.m. the meaning and cost of occupation respondence, proclamation, portraiture, 1862. Four days later, he was on hand Sunday, 10:30 a.m.–4:30 p.m. continue to this day. Cover: Massachusetts native Nathaniel Prentiss Banks, shown in this 1860s hand- and caricature—are such well-known as his regiment’s brass band—“the only Occupy New Orleans! opens with colored lithograph by E. B. and E. C. Kellogg, succeeded Benjamin F. Butler as commander historical figures as President Abraham one then in the city”—mounted the Free and open to the public the naval battle of April 24–25, 1862, of the Department of the Gulf in December 1862. (THNOC, 1982.6) Lincoln, General Butler, New Orleans balcony of the St. Charles Hotel to play

2 Volume XXX, Number 4 — Fall 2013 The Historic New Orleans Collection Quarterly 3 During the occupation, overt symbols of loyalty to the Confederacy were subject to confiscation by Union troops. Despite (or perhaps because of) such stric- tures, many locals treasured personal keepsakes of the Confederacy. This miniature hand-stitched flag—its design a variation on the more familiar “Southern Cross”—commemorates a child’s birth with the fol- lowing inscription, in French: “This confederate flag was present at the birth of Anatole. Friday, January 8, 1864. He was born during the war.” (THNOC, 1989.119.2)

a selection of patriotic airs. The assembled crowd, Ross noted, those of her sister and family friends, to obtain relief from Major was preponderantly poor: “The Secesh [secessionist] habitants General Nathaniel P. Banks, who succeeded Butler as military maintain a dogged silence and keep within their Houses as governor of the city. Correspondence on loan from the Library much as possible. The streets however are thronged . . . with the of Congress provides one clue to the intransigence of Banks and poorer classes, Rowdys, roughs and rable of both Sexes. They his men—they may have confused her with a Mrs. Waldron sus- are quite respectful now as we have arrested a large number for pected of more overt resistance to the Union occupation. impudence and abusive language.” Isachar Zacharie, an English-born podiatrist, treated In Ross’s opinion, the poor would soon come around to Abraham Lincoln for foot pain in September 1862. From this the Union side as they began “to see how badly they have been initial encounter a friendship developed, and the president humbugged” by banking and mercantile interests. In other words, endorsed Zacharie’s plans to travel to occupied New Orleans. Ross believed that poor whites and free blacks would realize that Once there, the doctor, who was Jewish, was tasked with drum- they too—not just slaves—were victims of economic exploitation ming up support for the president’s war policies among the city’s under the ruling class of Southern planters, bankers, and cotton Jewish community and—unbeknownst to his new acquain- factors. tances—serving as an undercover agent. Correspondence with Isabel Walton Waldo was one of those “Secesh” residents Lincoln places Zacharie in Louisiana through mid-September who kept to her house—that is, until it attracted the attention 1864, after which he returned north. On display in Occupy New of the Union army. With her brother, Colonel James B. Walton, Orleans! are Zacharie’s official orders from General Banks, along away in Virginia as commander of the Washington Artillery, with a number of “spy reports” in Zacharie’s hand. Isabel was living with her sister, Sarah Walton, and their aged “Was at the Lake last evening,” he writes on January 18, father on Camp Street, between Julia and St. Joseph Streets. 1863. “During the past week vessels have left there with provi- On August 9, 1864, an officer arrived at the front door and sions [for rebel forces on the North Shore].” Another report informed them that their house had been confiscated as property contrasts the “harsh treatment” of local “Israelites” [Jews] by of the Union army. “I said that was impossible as the property Butler with the “kind actions” of Banks, whose more genial belonged to my sister and she had taken the oath when the city leadership style “must in time make them fall into your views was first occupied,” protested Isabel. In a diary, on display in and without doubt embrace once again the Union cause.” the exhibition, she meticulously recorded her efforts, as well as James Cross Murphy, a child during the war years, was

4 Volume XXX, Number 4 — Fall 2013 profoundly shaped by the battles he was too young to fight. not participated,” Murphy wrote his wife, “I should have con- His father, Edward, emigrated from Ireland in 1845; his sidered myself forever an outcast from our city. Now I have mother, Josephine Cross, a Lafourche Parish native, died the honor and am proud to say that even though we do not when Murphy was three years old. Edward was a loving but redeem the State, I at least assisted in the noble effort.” oft-absent father: he entrusted Murphy’s education to fam- Occupation, redemption, reconstruction—charged ily friends, enlisted in Company B of the Louisiana Guard in words to this day, all too often freighted with racial and 1861, and died the following August at the Battle of Cedar sectional antagonism. Physical traces of the Civil War and Run in Virginia. “Let the remembrance of the glorious cause Reconstruction, such as memorials or landmarks, are relatively in which he fell take away in part the bitterness of the pang sparse in New Orleans. The nation as a whole, meanwhile, which you will feel in parting from him,” wrote a female remains, at times, divided by ideology, race, and class. These cousin to the 12-year-old orphan, “and let your aim in life be divisions have always been starkly visible in New Orleans. to grow up as honored and respected as he was.” But visible, too, is a vision for the future grounded in—and Remember the cause he did. An ambitious business- strengthened by—the struggles of the past. It’s a vision of man—he would eventually serve as president of the Louisiana racial, cultural, and spiritual commingling. Occupy New Sugar and Rice Exchange for more than 20 years—Murphy Orleans! invites visitors to listen carefully to voices from the cemented his postwar social position through membership in past, the better to refine their own vision for a just future. the Crescent City White League. In mid-September 1874 he —Jessica Dorman joined other members of the league in the Battle of Liberty Place, a violent protest against Reconstruction rule. “If I had

Above: Published less than a month after President Lincoln pulled Butler off the job in New Orleans, this Harper’s Weekly cartoon from January 1863 depicts the general in a none-too-flattering This photoprint reproduction, Hanging Mumford in Front of light as a menial laborer. (THNOC, gift of Clay Watson, the U.S. Mint (between 1950 and 1973), depicts the execution 1979.108) of William B. Mumford, hanged in 1862 for tearing down an American flag in defiance of the Union occupation. (THNOC, Above Right: Scene in New Orleans—The 26th Mass. Vol., 1974.25.9.178) Col. Farr, Practising [sic] Street Firing in Carondelet Street; between 1862 and 1865; print; THNOC, 1974.25.9.4 The Historic New Orleans Collection Quarterly 5 Mardi Gras Indians from various tribes line the street for the funeral procession of John “Scarface” Williams, big chief for the Central City–based Apache Hunters. (Still from the Jules Cahn Video Collection, gift of the Cahn Family, THNOC 2000.78.4.18)

Name: Robert Ticknor Staff Position: Reference assistant, on staff since 2012 On the Job The Assignment: Help a visitor find video footage of her Mardi Gras Indian chief father

he Reading Room inside the Claiborne Avenues. in honor of a big chief. I also provided Williams Research Center I directed Ms. Williams to one of Ms. Williams with a DVD copy of the T attracts all types of research- the reading room’s computer kiosks and footage, so that she could share it with ers—professors and graduate students, introduced her to the Jules Cahn Video her family. Her grandson’s birthday, amateur history buffs, contractors and Collection. Jules Cahn was an amateur she said, is the anniversary of his great- architects, and genealogists, just to photographer/videographer, jazz aficio- grandfather’s death—and, fittingly, it name a few. As a reference assistant in nado, and important documentarian will fall on Mardi Gras Day in 2014. the reading room, my job is to meet of New Orleans street culture. A regu- The Collection’s digitization of with patrons as they enter, conduct a lar presence at Preservation Hall, he the Jules Cahn Video Collection—and short interview to find out what they attended and filmed many second lines, the reason I was able to easily give Ms. are researching, and then, because our jazz funerals, and Mardi Gras Indian Williams the DVD—is partly due to a library stacks are closed to public han- events during the 1960s, ’70s, and ’80s. major request the reading room handled dling, provide them with the materi- Sure enough, within a few minutes a couple of years ago. In 2011 HBO als they need. Sometimes the job is as of showing Ms. Williams the digital approached The Collection about using simple as retrieving an item from the database, I heard an exclamation from a segment of the Jules Cahn footage in stacks, but occasionally it goes deeper across the reading room. She had found the opening credits to Tremé, their show and I get to help people uncover stories the footage of her father’s funeral. about post-Katrina New Orleans. One of great personal importance to them. Being able to see this event, which of our responsibilities in the reading Deborah Williams came into the took place more than forty years ago, room is helping with rights and repro- reading room one day in May and when she was still a child, brought her ductions—facilitating licensing arrange- told me she was looking for informa- to tears. She spent some time looking ments for people or organizations who tion about her father, John “Scarface” through other videos in the collection want to use THNOC images in exhibi- Williams, a Mardi Gras Indian chief for and watched footage of her father, tions, publications, or television and the Central City–based Apache Hunters dressed in his Indian suit, marching in film projects. Our licensing deal with tribe. Her father had been killed on other parades and second lines. HBO helped us finance the digitization March 4, 1972, when she was just eight Ms. Williams visited the reading of the Cahn footage, which, in turn, years old, and she remembered that room several other times to see more allowed us to make the entire collection at his funeral, held March 11, several videos of her father. Digging a little readily viewable in the reading room and Mardi Gras Indian tribes came together deeper into our stacks, I found local to easily produce high-quality DVDs for to honor the fallen chief with a proces- newspaper coverage from the funeral clients such as Ms. Williams. sion from the Estelle J. Wilson Funeral parade, and the articles mentioned I enjoy the variety of questions and Home, at 2715 Danneel Street, to how rare and special it was to have so topics people bring to the Williams the corner of Melpomene and South many different tribes march together Research Center. It makes my job fun

6 Volume XXX, Number 4 — Fall 2013 Concerts in the Courtyard Series THNOC’s fall concert series opens with performances by Brass-A-Holics (September), Kristin Diable (October), and Hot Club of New Orleans (November). Fridays, Sept. 20, Oct. 18, and Nov. 15 533 Royal St. 6–8 p.m. (Doors open at 5:30 p.m.) Admission: $10 or free for THNOC members (includes three complimentary cocktails)

Laussat Society Gala Members of The Collection’s Laussat Society and Bienville Circle will be honored at this annual gala. ON THE CALENDAR Friday, Oct. 24 For more information about joining the Laussat Society or Bienville Pallbearers accompany the hearse carrying Deborah Circle, please contact Jack Pruitt Esq., director of development and Williams’s father, a Mardi Gras Indian chief. external affairs, at (504) 598-7173 or [email protected]. Williams was able to see footage of the funeral, which she attended as a little girl, thanks to the Williams Research Center’s acquisition and digitiza- Gettysburg to Vicksburg: Photographs of Civil War tion of the Jules Cahn Video Collection. (Still from Battlefields by A. J. Meek the Jules Cahn Video Collection, gift of the Cahn The upcoming exhibition in The Collection’s Laura Simon Nelson Family, 2000.78.4.18) Galleries will feature recent photographs by Louisiana artist A. J. Meek of the five original Civil War battlefield parks: Gettysburg, Chickamauga, when visitors have new and interesting ques- Shiloh, Antietam, and Vicksburg. tions. Working with Ms. Williams was one of Opens Wednesday, Nov. 6 the most touching and personal experiences I 400 Chartres St. have had at my job, and I was very happy to 9:30 a.m.–4:30 p.m. help her find exactly what she was looking for. Admission: Free —Robert Ticknor

Spotlight: Staff Donation urator John T. Magill contributed more The tea service comprises a teapot, creamer, than his regular column to this quarter’s sugar bowl, and sugar tongs, all engraved with the C acquisitions news with the recent dona- Tylden family crest. Bearing a hallmark of 1806/07, tion of his family’s heirloom silver tea service. the set was made by London silversmiths William The service belonged to a maternal ancestor of Burwash and Richard Sibley and is typical of the Magill’s, Lieutenant Colonel Sir John Maxwell early 19th-century Regency style. As it was not a Tylden (1787–1866), who served as a British presentation set, the tea service was in near-daily use, army major and was present for the Battle of New probably well into the 20th century. Somewhere Orleans alongside Major General Sir Edward along the line of succession for this heirloom—it Tylden tea service, by Burwash & Pakenham. (The T in Magill’s name stands for stayed in New Zealand from 1912 until 1968, when Sibley; 1806/07; silver; THNOC, Tilden, the American variant of Tylden.) Magill’s mother, Alison Emily Grant Brewer Magill gift of Mrs. Franklin Charles According to Robert V. Remini’s book The (Mrs. Franklin Charles) inherited it—a silver salver Magill and John T. Magill, Battle of New Orleans: Andrew Jackson and America’s became part of the set. The footed salver, a serving 2013.0020.1–4. Footed salver, by First Military Victory, during action—the final tray for food or beverage, dates to the mid-18th cen- Morton & Co.; mid-18th century; incident in the War of 1812—Pakenham ordered tury and was made by Morton and Co. in Sheffield. silver over copper; THNOC, gift of Tylden to send for reserve troops but was mortally “My mother wanted to see [the tea service] Mrs. Franklin Charles Magill and wounded shortly after doing so. (The bugler respon- transferred safely to The Collection,” Magill says. John T. Magill, 2013.0020.5 sible for calling up the reserve was shot in the arm “Here, it’s maintaining its provenance. Anywhere and dropped his bugle, preventing the command else, its New Orleans connection would be com- from being carried out.) Tylden was one of several pletely overlooked.” officers tasked with reporting Pakenham’s death. —Molly Reid

The Historic New Orleans Collection Quarterly 7 Tales from the Crypts New digital resource to compile information about New Orleans cemeteries

he Collection is giving New Orleans’s oldest cemeteries a T21st-century boost. Earlier this year, staff curator Howard Margot and Williams Research Center intern Sofia Papastamkou started digitizing a detailed survey of nine of the city’s historic cem- eteries, which The Collection and the nonprofit Save Our Cemeteries originally conducted from 1981 to 1985. The project will make information about each burial-ground tomb or crypt—names and life dates of the “residents,” materials used, condition reports, lists of decorative or architectural details, and more—acces- sible to anyone online or in person at the Williams Research Center. environment, and the artistry of some of Save Our Cemeteries, one of the oldest The project doubles as a master’s the city’s most important architects, sculp- such preservation organizations in the thesis for Papastamkou, a French gradu- tors, and craftsmen. United States. The group fought suc- ate student who designed the Web-ready The cemeteries’ picturesque quali- cessfully to halt massive demolition in database during her WRC internship, ties, although long cherished by visitors, these cemeteries and paved the way for from April through June, and is still are partly due to their deterioration: continued preservation advocacy. working on the project remotely from constant exposure to the elements, the The Collection’s original cemetery France. Assisting in the digitization is Save sensitivity of the materials (marble, survey targeted grounds whose con- Our Cemeteries, whose volunteers are wrought iron, and soft, local brick), and tinued existence was, at the time, very performing the tedious but necessary task susceptibility to theft all affect the his- much in doubt: St. Louis Nos. 1 and 2, of data entry—taking index cards from toric burial grounds’ long-term sustain- Lafayette Nos. 1 and 2, St. Joseph Nos. the original survey and entering the infor- ability. The protection and conservation 1 and 2, Odd Fellows Rest, Greenwood, mation into the database. The project is of the cemeteries has been a concern of and Cypress Grove. By documenting the still in its pilot form, focusing only on paramount importance to New Orleans structures of these centuries-old burial survey data from St. Louis No. 1, but in preservationists since the city’s preserva- grounds, the architects of the original time, all nine cemeteries will be brought tion movement—one of the very earli- survey took a crucial step in preventing into the digital fold. The Collection hopes est in the country—got its start in the city-sanctioned demolition to some of to have the pilot version of the survey first quarter of the 20th century. New Orleans’s most historically sig- available for public perusal later this year. General L. Kemper Williams, nificant sites. However, in the 28 years These cemeteries date as far back founder of The Historic New Orleans that have since passed, environmental as the late 18th century—the oldest still Collection and an important early and manmade disruption has led to a extant, St. Louis No. 1, was established preservationist, was involved with remarkable loss of material and infor- in 1789, and the second oldest, St. Louis efforts in the 1940s and ’50s to save mation. Countless closure tablets—the No. 2, is from 1823—and, for the most the city’s first Anglican cemetery, square or rectangular slabs that cap part, served the wealthy and the poor, the Girod Cemetery, founded in 1822. sealed tombs and often list names and slave and the free, the immigrant and the These efforts eventually failed, and life dates—have been stolen, destroyed, native. The tombs are among the city’s Girod Cemetery was bulldozed to or lost to environmental deterioration. most significant architectural monuments, make way for urban development. The new digital survey preserves reflecting the influence of French and Later, in the 1970s, threats to the the information from the lost tablets Spanish cultural traditions on the city, the Catholic burial grounds of St. Louis and makes it more accessible than ever. physical realities of the south Louisiana Nos. 1 and 2 led to the creation of Users can search for information by lot

8 Volume XXX, Number 4 — Fall 2013 number or tomb name; any variable can be targeted for search results quickly and easily. For example, an architectural history student researching decorative motifs among graves and tombs can use the digital survey to bring up lists of cemetery lots according to style and placement of ornamentation. The Collection and Save Our Cemeteries also hope that, by making the sur- vey information available to a wider audience, more people will pitch in to take care of these historic landmarks. A greater awareness of one’s ancestors’ resting FromFrom thethe DirectorDirector places, along with a little whitewash and some flowers, can help ensure that the cemeteries remain open and attractive to visitors and locals for years to come. —Daniel Hammer and Molly Reid

ugust may be a slow month for New Left: A row of tombs in St. Louis Cemetery No. 1 A Orleans—tourism is generally lower, and locals are preoccupied with avoiding the heat— Opposite page: Information but for The Historic New Orleans Collection, it’s such as the presence of a gate one of the busiest times of the year. We kicked around this St. Louis No. 1 off August with our sixth annual New Orleans tomb, the names and dates Antiques Forum, Opulence & Intrigue: Exoticism in on the closure tablet, and the the 19th Century, and it was an enormous success. presence of ornamentation From insights into exotic Victorian jewelry to our will all be incorporated into own John Magill’s exploration of orientalism in the digital survey. late 19th-century Carnival activities, the 2013 Antiques Forum took us all on a journey. (See photos from the event on page 16.) The Collection’s curators and exhibitions staff have been putting the final touches on two new exhibitions. Alternative Imprints: Jon Webb, Ducks in a Row Gypsy Lou, and the Hand-Sewn World of the Loujon Press opened August 13 at the Williams his summer, a flock of Research Center and features some of the most faux feathered friends unique publishing-related material we have T took up residence in The ever displayed. In addition to original Loujon Collection’s orientation room at 533 titles and ephemera from the printing process, Royal Street. The 60 handcrafted Alternative Imprints includes artworks from duck decoys are a sampling from midcentury artists such as Noel Rockmore. the recently acquired decoy collec- October 1 will mark the opening of Occupy tion of Anne and Dick Stephens. New Orleans! Voices from the Civil War, a fresh The Stephenses anonymously perspective on the city’s three-year occupation lent The Collection approximately by Union forces. Focusing on first-person 150 of their decoys, along with accounts of the period—from both everyday Miniature decoy; wood; 1960; THNOC, related wildfowl art and books, for people and well-known figures such as Abraham gift of Anne and Dick Stephens and Family, the two-part 2007 exhibition Birds Lincoln—the exhibition explores the impact of 2012.0376.1.292 of a Feather: Wildfowl Carving in occupation, then and now. Southeast Louisiana, which explored Other upcoming events, such as the start the work of craftsmen carvers who turned utilitarian hunting aids into beautifully of our fall Concerts in the Courtyard series crafted and hand-painted folk art. The Stephenses donated more than 300 decoys on September 20 and the annual Laussat Gala and wildfowl-related paintings, posters, books, and stamps to The Collection in fall on October 24, are welcome reminders that 2012. The bounty of the donation, particularly as it illuminates a unique aspect of summer is at an end and autumn is on its way Gulf South culture, inspired The Collection to showcase some of the pieces as soon in. The Collection looks forward to staying as possible, says Collections Manager Warren Woods. The selection includes at least busy, working on new exhibitions and features one item from each identified carver in the donation. to keep New Orleans and Gulf South history “Now that we have received this gift, we want people to know that they can interesting year-round. come admire the decoys on display or study any of the others now in our holdings.” —Priscilla Lawrence —Molly Reid

The Historic New Orleans Collection Quarterly 9 Bohemian Rhapsody Loujon Press exhibition explores the work and world of artist Noel Rockmore

Above: Longtime friends Gypsy Lou Webb and Noel Rockmore appear in the 1980 photo- graph Tenants Anyone? by Johnny Donnels. (The Historic New Orleans Collection, gift of Joan T. Donnels, 2010.0068.1.2)

Left: In Homage to the French Quarter (1969/1970/1975), Noel Rockmore places himself (right) and Gypsy Lou Webb (left) in the foreground of a crowded tableau of downtown personalities. Among those depicted are artists Charles Richards and Andy Lang, restaurant and bar owners Johnny White and Sonny Vaucresson, and French Quarter eccen- trics Ruthie the Duck Girl and Sister Gertrude Morgan. The piece took Rockmore many years to finish and was a longtime fixture at Johnny White’s bar until it was sold and put up for auction in 2007. (Courtesy of JoAnn Clevenger, Upperline Restaurant New Orleans, LI-000166.1)

tarting in the 1920s, the unique artists to come out of this magazine as the number-one illustrator French Quarter’s beauty, his- period was Noel Rockmore, a friend of the period, and Gladys, who won S tory, and low rent attracted of the Webbs who produced work for prizes from several leading US muse- many artists, writers, and musicians several Loujon publications. Five of ums, encouraged Noel to play the vio- from across the country who were his paintings and several of his Loujon lin as a child. He attended Juilliard and looking for inspiration on the cheap. etchings and illustrations are featured in also learned to play piano, guitar, and By the time Jon and Gypsy Lou Webb Alternative Imprints. banjo, but a bout of polio at age 11 left founded Loujon Press in their French Noel Rockmore (1928–1995) was him confined to bed, where he began Quarter apartment in 1960, the Vieux born in New York City, the son of drawing—an activity that would take Carré was a bustling neighborhood illustrator Floyd MacMillan Davis and over his life. with a vibrant mix of bohemian and painter Gladys Rockmore Davis. Floyd, After forging a promising career in working class folk. One of the most who was recognized in 1943 by Life New York—financier Joseph Hirshhorn

10 Volume XXX, Number 4 — Fall 2013 Left: Skyline of the French Quarter (1960) shows Rockmore’s work in ink and gouache on paper, away from his large body of acrylic and oil- on-canvas pieces. (Courtesy of Scott M. Ratterree and Jennifer A. Mitchel, LI-000167.1) Right: In Sister Gertrude (n.d.), Rockmore depicts Sister Gertrude Morgan (1900–1980), who moved to New Orleans in 1939 to preach the gospel on the streets. She ran an orphanage, opened a Lower Ninth Ward mission, and became an outsider-art darling when her paintings caught the eye of gallery owner Larry Borenstein. (Courtesy of JoAnn Clevenger, Upperline Restaurant New Orleans, LI-000166.3) was one of his first patrons and he was given two spreads in his home, and he always returned. Life—Noel Davis left New York for New Orleans in 1959, Rockmore’s life of carousing and excess caught up with leaving behind his wife and three children. Not long after, him on February 17, 1995, when he was admitted to St. Jude he changed his surname to Rockmore to distinguish himself Medical Center, in Kenner, after a long illness. Mistaken for a from his parents and other artists named Davis. Early on he homeless person by the admitting nurse, he is reported to have met gallery owner Larry Borenstein, one of the founders of raised himself up and said, “I am not a street person; I am a Preservation Hall, who would become one of his major deal- great artist.” Rockmore lost consciousness soon after and died ers. Borenstein also commissioned Rockmore to paint portraits two days later at age 66, leaving behind an estimated 15,000 of the Preservation Hall musicians, several of which are still artworks and a legacy that resists easy categorization. on display in the Hall. Rockmore would paint more than 750 —Anne Robichaux musicians’ portraits in two years. In 1965 Rockmore met Jon and Gypsy Lou Webb in the French Quarter, where they all lived. The Webbs published Charles Bukowski’s Crucifix in a Deathhand, which featured Rockmore’s etchings (a copy is on display in the exhibition). Alternative Imprints: Jon Over the course of their long friendship Rockmore featured Webb, Gypsy Lou, and the Gypsy Lou in several paintings, placing her prominently in a Hand-Sewn World of the crowded tableau of downtown personalities in Homage to the Loujon Press French Quarter and making her a neutral observer to a New

York City brawl in Bar Fight. On view through ON VIEW Noel explored nearly every medium—pen and ink, acrylic, November 16 oil, gouache, etching, watercolor, collage, pastel, silk screen— and excelled at everything. His subjects ranged from French At the Williams Research Quarter life to Egyptian iconography, and his styles encom- Center, 410 Chartres St. passed realism, abstract art, surrealism, objet trouvé, and more. He traveled extensively, returning to New York for weeks or Tuesday–Saturday, months and taking trips—many of them financed by founda- 9:30 a.m.–4:30 p.m. tions or private collectors—to Mexico, Morocco, Jerusalem, Italy, France, Haiti, and across the US, where he documented Free and open to the public the people and places he encountered. But New Orleans was

The Historic New Orleans Collection Quarterly 11 Become a Member Membership Benefits All members of The Collection enjoy the following benefits for one full year: • Complimentary admission to all permanent tours and rotating exhibitions • Complimentary admission to the Concerts in the Courtyard series • A 10 percent discount at The Shop at The Collection • A subscription to The Historic New Orleans Collection Quarterly • Special invitations to events, trips, receptions, and exhibition previews

New Benefits of Membership! Membership Levels

Responding to your requests and FOUNDER INDIVIDUAL $35 to the increase in program benefits, FOUNDER FAMILY $65 The Collection is offering new Full membership benefits opportunities for membership at the Founder level. MERIEULT SOCIETY $100 Full membership benefits plus: Founder Individual Membership: • a special gift $35 for one person MAHALIA SOCIETY $250 Founder Family Membership: $65 Full membership benefits plus: for one or two adults and any children • a special gift under 18 all residing in a single • private, guided tours (by appointment) household, or for one member and a guest We value your association with our JACKSON SOCIETY $500 community. Should you have any Full membership benefits plus: questions related to membership, • a special gift you may call (504) 598-7109. • private, guided tours (by appointment) • free admission to all evening lectures

How to Join LAUSSAT SOCIETY $1,000 Full membership benefits plus: To become a member of The • a special gift Historic New Orleans Collection, • private, guided tours (by appointment) visit www.hnoc.org and click the • free admission to all evening lectures Support Us link, or complete the • invitation to annual gala evening form on the enclosed envelope and return it with your gift. BIENVILLE CIRCLE $5,000 Memberships at the Founder Family Full membership benefits plus: level and above include benefits for • a special gift up to two adults and any children • private, guided tours (by appointment) under 18 residing in a single • free admission to all evening lectures household, or for one member and • invitation to annual gala evening a guest. • lunch with the executive director

North American Reciprocal Museum Program

Members of the Merieult, Mahalia, Jackson, and Laussat Societies and the Bienville Circle receive reciprocal benefits at other leading museums throughout the United States through the North American Reciprocal Museum (NARM) program. These include free member admission, discounts on concert and lecture tickets, and discounts at the shops of participating museums. Visit sites.google. com/site/northamericanreciprocalmuseums for more information. 12 Volume XXX, Number 4 — Fall 2013 FOCUS ON PHILANTHROPY Eugenia Uhl and David Rebeck

ugenia Uhl and David Rebeck unique flavors such as Vietnamese coffee is great,” he says. “It’s wonderful that recently traveled together to and lemon-basil. these resources are available.” ESpain with The Collection’s Uhl, who grew up in Gretna and The couple loved going to Spain with annual staff-led tour group, taking in attended Louisiana State University and The Collection’s tour group—Madrid’s the romantic sights of Seville, Málaga, the Portfolio Center in Atlanta, is a pho- naval museum and the Alhambra, a Granada, and more. Long before they tographer specializing in food, interiors, Moorish castle in Granada, were favor- traveled as a pair, though, Uhl and and food styling. She has shot images ite stops on the itinerary—and hopes to Rebeck made a connection during their for Galatoire’s, Commander’s Palace, “continue to support The Collection and own journeys: passing each other in the Palace Cafe, Tulane University, and the things that they do,” Uhl says. an airport—Atlanta? Charlotte? They magazines such as GQ, Essence, and “It offers exhibits and experi- can’t quite remember which one—they Travel and Leisure. She is also a calligra- ences that no other organization has,” locked eyes. “I told the guys I was with, pher and bookbinder. Rebeck says. “New Orleans is that rich ‘Wow, I just passed this woman and she “I like taking apart old books and of a place; it needs something like [The had this look,’” Rebeck recalls. making new ones,” Uhl says of her cre- Collection].” “I thought, ‘There’s the guy I’m ations, which can be seen at the Ogden —Molly Reid going to end up with,’” Uhl says. Museum of Southern Art. The moment came and went, and it Their home is inviting, interest- seemed nothing more would come of it. ing, and full of eclectic pieces. The old Several years after that chance encoun- pharmacy space still has its original pat- ter, though, the two strangers met terned tile floor and built-in shelves and properly—or as properly as people can display cases, which now house books, meet on Mardi Gras Day, in costume, stemware, sheet music, knick-knacks, at a wedding for mutual friends held and Uhl’s impressive collection of vin- on Frenchmen Street and officiated by tage and antique cameras. In the oppo- musician Coco Robicheaux. Again, they site corner stands Rebeck’s music stand, were drawn to each other. which bears an open copy of Bach’s vio- “It was a familiar feeling,” Rebeck lin partitas. says. “Some women, when you first Inside the main house, original plas- meet, there’s a barrier up. Not with her.” ter walls with beautiful patina form the Today, Rebeck and Uhl live together backdrop for a bevy of different styles: a in a beautiful double shotgun attached to Danish modern chair cozies up to a semi- a former pharmacy in the Bywater neigh- circular sectional sofa, while an art deco borhood. They are both passionate about lighting fixture hangs above a midcentury the arts: Rebeck, a native of Michigan and mint and burgundy-red bar with padded graduate of the University of Minnesota, leather accents. Artworks, many of them is a violist and violinist who has played made by friends, line the walls. with the Louisiana Philharmonic Rebeck, who would like to curate Orchestra, the New Orleans Klezmer musical programs around different All-Stars, the Rites of Swing, and other themes of historical importance, says he local ensembles. He also runs the popu- appreciates The Collection’s wealth of lar Piety Street Sno-balls, which offers research information. “Its very existence

The Historic New Orleans Collection Quarterly 13 Donors The Historic New Orleans Collection is honored to recognize and thank the following April–June 2013 individuals and organizations for their financial and material donations.

Jane and William C. Adams Micheline Cazayoux and Dean Tim L. Fields Anita Kazmierczak-Hoffman Frederick Adinolfi Shrable Dr. Terrance and Merle Fippinger Lynne and Thomas Keay Anonymous Katherine Cecil and Emile Dumesnil Julie E. Fishelson Phillip T. Kehoe Colonel Phil Arbo Alva and Edgar L. Chase III Mr. and Mrs. Michael Fitzpatrick Keil’s Antiques Mr. and Mrs. Robert D. Armstrong Stephen Chesnut Mr. and Mrs. Harold Jude Flanagan John R. Kemp Alexander T. Asprodites Jr. J. Scott Chotin John A. Fleckner Mr. and Mrs. Robert J. Killeen Dr. and Mrs. Arthur J. Axelrod Mrs. Tove Christensen Judy and John Foren Forrest C. King Ronn Babin and Peter Jolet Mrs. William K. Christovich Lynn H. Frank Jane L. and R. Richardson King Clinton Bagley Sarah Churney Christopher J. Fransen Danielle Klein Baptist Community Ministries Eugene D. Cizek Gregg J. Frelinger David Walter Knopf Ashley E. Barckett Mr. and Mrs. Merlin Clausing Mr. and Mrs. Richard Friedman Doug Kolom Björn Bärnheim Ellen Barnett Cleary Barbara B. Gaiennie Sandra S. Kramer Mr. and Mrs. Morris Bart Dorothy Clemmer and John Carl Gaines Jr. Krewe of Dorians Sidney J. Barthelemy Franklin Clemmer Mrs. George Gallagher Carolyn Kuehling and Darlene Walk Vickie Taylor Bassetti JoAnn Clevenger Betsie Gambel Dr. Mary LaCoste Lawrence E. Batiste Charlene Coco and Ragan Kimbrell Garrity Print Solutions, A Harvey Barry L. LaCour Dr. Craig A. Bauer Dr. Francis Cole Company Jon G. Laiche Joan W. Becnel Linda and Martin Colvill Dale Gibson Mr. and Mrs. James C. Landis Earl E. Beelman Melissa Perrett Cook Mr. and Mrs. Clave E. Gill Dr. Margot C. LaPointe and Roger Mr. and Mrs. Emanual V. Benjamin III Tony S. Cook Lynda Gladney Zauel Myrna B. Bergeron Brandi Couvillion Cybele Gontar and Daniel Rodgers Susan R. Laudeman Mr. and Mrs. Dixon B. Betz William Crawford Mr. and Mrs. J. Malcolm Gonzales Mr. and Mrs. John H. Lawrence Mr. and Mrs. Ernest Beyer Kim and Robert Crosby Mr. and Mrs. Nathan Gordon Sterling W. Le Jeune Randy Bibb Marie Francoise Crouch Katherine Green Mr. and Mrs. Clyde H. LeBlanc Winnie L. Biggio Chris Daigle Nicole Greene Lorraine LeBlanc Anne and Christopher G. Bird Beth D’Aquin Janice Donaldson Grijns Ben Ledbetter Dr. Günter Bischof Joe Darby Russell B. Guerin Justice Harry T. Lemmon and Judge Eric R. Bissel Jan E. Davis James L. Guilbeau Mary Ann Vial Lemmon Mr. and Mrs. Tom Bissell Linda and Robert Deane Carol V. Hall James F. Lestelle and John M. C. J. Blanda Betty K. DeCell Dr. and Mrs. Frank A. Hall Jr. Stephens Robert W. Blythe The Derbes Family Foundation Inc. Mrs. Roger P. Hanahan Angus M. Lind Mr. and Mrs. Robert H. Boh Deutsches Haus Loretta Katherine Harmon Cesar Lombana Dr. and Mrs. Thomas Bonner Jr. Joseph M. Dicharry Ronald Harrell and M. Christian Henri M. Louapre Linda Bordelon Lynn F. Dicharry Mounger Dr. Sandra Loucks and Dr. Alvin Daniel A. Bouysou Ana-Maria C. Dobrescu Mr. and Mrs. Robert Hassinger Burstein Lisa Bradley Dr. and Mrs. Michael P. Dolan Capt. Clarke C. Hawley Louisiana Philharmonic Orchestra Mary Jane Brandon Eva Doty Mrs. Malcolm Heard Norah and Charles Lovell Mrs. Philip Breitmeyer II William Lake Douglas Charles Hebert Dr. J. Bruce Lowe Lucille H. and Eugene A. Brian Mr. and Mrs. Jeffrey R. Doussan Delia Hernandez Irene B. Lutkewitte The Honorable and Mrs. Peter Robert Dreier Marshall Hevron Dr. Charles and Susan Lyon Scott Bridges Elizabeth A. Drescher Earl J. Higgins Dr. Morgan Lyons and Martha Harris Daniel A. Book Nancy and James Dunnick Priscilla A. Hildum and Warren L. Judy Maclauchlan Nancy and David Broussard Pamela and Homer J. Dupuy III McCabe Ann Maier Dr. Andrea S. Brown Maurice W. duQuesnay Inez Adele Hinckley Diana and Lawrence Mann Brigid Brown and Steven Guidry Jennifer Dyer Dr. and Mrs. Gregor Hoffman Kimball P. Marshall, PhD Elizabeth and Kemper Williams Margaret M. Dziedzic Mr. and Mrs. Stanhope F. Hopkins Dr. and Mrs. Alvin Mathews Brown Dr. and Mrs. Valentine Earhart Susan K. Hoskins Molly and Montgomery Matthews Dr. and Mrs. Robert N. Bruce Jr. J. Peter Eaves Newton E. Hyslop Jr. Susan and Charles J. Mayne Ann L. Burka Mr. and Mrs. Sidney T. Ellington Eric Iglesias Norma Mc Loughlin Anne Butler Robert Klein Engler Joe M. Inabenett Mrs. E. Howard McCaleb Winifred E. Byrd Louise N. Ewin Rita Lynn Jackson Sandie McCarthy-Brown Cahn Family Foundation Inc. Suellen A. Eyre Mr. and Mrs. R. Andrew Jardine Catherine McCracken Bertie Campbell Col. and Mrs. Walter G. Fahr William Jerome Mary M. McCracken Nell Carmichael Larry Falgoust Dorothy C. Johnson Missy McCroskey Marilyn D. Carriere Jean M. Farnsworth Madeline Jorgensen Gaye McCutchen Charles Case and Phillip St. Cloud T. Semmes Favrot Dr. Florence M. Jumonville Drs. Georgia McDonald and Janice and John Catledge Thomas E. Fernon Lura G. Kauffman Andrew Mayer

14 Volume XXX, Number 4 — Fall 2013 Ralph McDonald II Sazerac Company Inc. Walter H. White III Mr. and Mrs. Thomas C. Craig Schexnayder Dr. C. Mark Whitehead Jr. McGehee The Schon Charitable Foundation Catherine A. Whitney and Ed Hanson Jack B. McGuire School of Design Jeanne Williams Evelyn Merz and John Berlinghoff Mr. and Mrs. Richard Schornstein Jr. Noel B. Williams Dierdre Miano Betty-Carol Sellen Pam and Ron Williams Dr. Sylvia S. Mince Jean-Mark Sens Mr. and Mrs. Donald E. Wilson Rana Mitra M. Lee Shaffer Jr. Mr. and Mrs. John Morgan Wilson Sally and Dick Molpus Annelies Sheehan Jeffrey D. Windes Mark Monte Dr. Alan Sheen Nancy G. Wogan Sharon Moore John H. Shields Peter M. Wolf Howard M. Moreaux Ruby H. Shrieves Melody Young and Steven D. Martin Liana Moss Sibley Kopmeier Appraisal Diane K. Zink and Robert M. Becnel Moss Antiques Associates Harriet H. Murrell Leatrice S. Siegel Tribute Gifts Neal Auction Company Inc. Anita Silvernail Tribute gifts are given in memory or New Orleans Silversmiths Norma and Bob Simms in honor of a loved one. Victoria Brandt Normand Dr. Charles M. Smith John T. O’Connor Gayle B. Smith Ambush Inc. in memory of the Dr. and Mrs. Tom Oelsner Joe Sollitto 32 victims who perished in the George J. Oliver Mr. and Mrs. Thomas S. Soniat Upstairs Lounge fire Auseklis Ozols Patricia Soulier Ann Babington in honor of Jessica Mr. and Mrs. Gray S. Parker Rosalie C. and James L. Spicuzza Dorman and Erin Greenwald Mrs. Godfrey Parkerson E. Alexandra Stafford and Mr. and Mrs. Morris Bart in Ruth Paterson Raymond M. Rathlé Jr. honor of Erin Greenwald Ellen and John A. Pecoul Marion R. Stafford Fern and Hersh Cohen Howard C. Stanley Editor Grey Sweeney Perkins in memory of William K. Molly Reid Dr. William J. Perret Dr. Barry Starr and Kelly Christovich Director of Publications Louis C. Perrilliat McLaughlin Friday Afternoon Club in honor Jessica Dorman Shari Perron Dr. Glen Steeb of John Lawrence Head of Photography Keely Merritt Anne E. Peterson Mr. and Mrs. Richard B. Stephens Genealogical Research Society of Design Dr. and Mrs. Craig R. Peterson Lynne R. Stern New Orleans in honor of Nina Theresa Norris Bonney Philbin Clare B. and John A. Stewart Jr. Bozak and Daniel Hammer Melanie Innis Mrs. Ben J. Phillips Richard Stewart John C. Menszer in memory of The Historic New Orleans Collection Carlton Polk Micki Beth Stiller Elaine Menszer Quarterly is published by The Historic New Orleans Collection, which is oper- Ann and Bill Pope Lenora Stout Orléans Club in honor of Howard ated by the Kemper and Leila Williams Dr. Demetrius Porche Carolyn H. Sung Margot Foundation, a Louisiana nonprofit cor- Rev. Fred J. Powell III Walter J. Suthon III poration. Housed in a complex of his- toric buildings in the French Quarter, Shirley Quement Mary Lee Sweat and Tom Gault Bookplates facilities are open to the public Tuesday Jennifer Quezergue Stella C. Tanoos Donations are used to purchase through Saturday, from 9:30 a.m. until Mavis C. Raggio Dr. Ken Taylor books that will be marked with a 4:30 p.m., and Sunday, from 10:30 a.m. Dr. Marion Ratterree Olga Manosalvas Teplitsky commemorative bookplate. until 4:30 p.m. Tours of the History Galleries, Williams Residence, and court- Scott M. Ratterree Margot K. Thomas and Pres yards and architecture are available for a Deborah Rebuck Kabacoff for the Kabacoff The board of directors and staff nominal fee. Dr. and Mrs. John Shelton Reed family of The Historic New Orleans Board of Directors Pam and Kevin Reed Sheryl L. Thompson Collection in memory of Louis Mrs. William K. Christovich, Chair Dr. Thomas Reinert Mr. and Mrs. James W. Thornton J. Bartels Fred M. Smith, President Drew Jardine, Vice President Dr. Richard L. Reinhardt Jenny and Mike Tilbury The Archbishop Wore Combat Boots: John E. Walker, Past President Dr. Dennis Reinhartz Dr. Hilton Marx Title Memoir of an Extraordinary Life John Kallenborn Dr. Frederick and Suzanne Rhodes III Lawrence J. Torres Jr. by Archbishop Philip Hannan, E. Alexandra Stafford Hilton S. Bell Emilie Rhys Karen C. Trumpore with Nancy Collins and Peter Sean Paul Ricard Gail Tumulty and Sonny Faggart Finney Jr. (Huntington, Executive Director Priscilla Lawrence Louis N. Ritten Mr. and Mrs. John J. Uhl Indiana: Our Sunday The Historic New Orleans Megan Roniger Ursuline Academy Visitor Publishing Division, Collection

Mr. and Mrs. Douglas J. Roome Verizon Wireless 2010) QUARTERLY 533 Royal Street A. J. Roquevert Colette D. Villeré-Ford New Orleans, Louisiana 70130 Dr. and Mrs. Irving L. Rosen Dr. Dolores J. Walker (504) 523-4662 [email protected] Ruth Rosenthal Sandra A. Warren T he www.hnoc.org Royal Antiques Ltd. Leo Watermeier ISSN 0886-2109 Virginia Dare Rufin Alexis L. Webb and John F. Guy © 2013 The Historic New Orleans Eva Rumpf Catherine and Jay Weil Barbara and Harold Ryan Elfriede S. Westbrook Thomas A. Sancton Nora Wetzel

The Historic New Orleans Collection Quarterly 15 ON THE SCENE 16 Volume XXX,Number 4—Fall 2013 Don Woods. Lawrence, Graham Boettcher, Laura Wallace, and Pincus, andDavid Monteleone. Below Bottom:John Grant Dietz. Below Middle: Jack Pruitt, Anne Below Top: Jason Busch, KatieHovas, andUlysses Hoskins, Sarpy, Courtney-Anne andIna Fandrich. tours, andmore. Above: Tour ofPoplar Grove Plantation. Left: Julie Breitmeyer, Susie anddecorativehistory foraweekend arts oflectures, specialevents, optionalpreconference The 2013 New Orleans Antiques held Forum, August 1–4,brought togetherlovers of

Dupuy, andM Benjamin H Perron, Dumas, receptionist. Arceneaux Ashley , of education.I Leidy Cook, New Staff Louisiana andelsewhere. a company inLyon, France, cottonfrom thatimported from documents collection ofearly 1840sbusinesslettersand Rodolphe Dobler &Co. Correspondence (MSS674),alarge inParis,nationale deschartes completedamonth’s work onthe LeM Aude Natchitoches, dated 1748–1761. of notesandlettersfrom orconcerningapriestincolonial digitized theFr. Valentin Papers (MSS657),acollection a variety of projects. She arranged,housed,described,and Alfred E.Lemmon, Jason Wiese, andHoward Margot on recently finished onemonthatTheCollectionworking with du Louvre student sponsored by theFrench Heritage Society, of itsongoingexchange program. I The WRC hasbeenworking with two French interns aspart WRC Spotlight Residents, andAssociates(VCPORA). nominating committeeof Vieux Carré Property Owners, Marketing AssociateAnneR ofAngola. documenting thehistory Foundation, program helpedtocreate anoralhistory as anadvisortotheLouisianaState Penitentiary Museum Senior Curator andOral Historian M Reporting (TransactionCentury Press). Murder, Mayhem, Mudslinging, Scandals,andDisastersin19th- on muckrakingfortherecently publishedbookSensationalism: Publications Director Jessica Dorman contributedanessay In theCommunity St afF NE R yan Thompson, atfield,

library processor.library Daphne Derven , curator nga M argot H , a student from the École oullec-Rieu, astudentfrom theÉcole Dale Budenski , Albert , publicationsintern.Albert ittendorf WS , volunteers. ammond, volunteers. John C obichaux wasappointedtothe atledge, sabelle Decise , anÉcole Kurt Owens, ark C I sma Shahien, Wade, Bolotte ave , serving Pamela Shari acquisitions The Historic New Orleans Collection encourages research in the Williams Research Center at 410 Chartres Street from 9:30 a.m. to 4:30 p.m., Tuesday through Saturday (except holidays). Cataloged materials available to research- ers include books, manuscripts, paintings, prints, drawings, maps, photographs, and artifacts about the history and cul- ture of New Orleans, Louisiana, and the Her advice column debuted in the paper societies. The African American Bedou Gulf South. Each year The Collection in 1895, after which Dix adopted her penetrated the guarded world of upper- adds thousands of items to its holdings. pen name. In 1901 she accepted a hand- class white society, photographing many Though only selected gifts are mentioned some offer to become a crime reporter prominent social figures and Carnival here, the importance of all gifts cannot be for the New York Journal but continued royalty. Bedou was also a founder and overstated. Prospective donors are invited writing her advice column for the Daily executive of the Peoples’ Life Insurance to contact the authors of the acquisitions Picayune remotely. Company of Louisiana. (2013.0177.1) columns. After her column was syndicated ■ Another new acquisition is a in 1917, giving her greater financial charming photograph album depict- Curatorial security, she happily returned to New ing college life among students at New ■ A gift from Missy McCroskey is a Orleans and the Times-Picayune, with Orleans University, an African American photograph of Elizabeth Meriwether the column running until 1950. She institution at 5318 St. Charles Avenue, Gilmer (1861–1951), better known wrote several books, including How to and at Straight College, another African as Dorothy Dix, by New Orleans– Win and Hold a Husband (1939) and American school at 2420 Canal Street. born photographer Arthur Paul Bedou Dorothy Dix—Her Book: Every-day Help One handwritten caption reading, “The (1882–1966). Dix (see image below) for Every-Day People (1926). In the lat- Old Gang—N.O.U.—1928,” helps was a New Orleans–based advice col- ter, she alludes to her difficult marriage, date the album to two years before umnist who wrote “Dorothy Dix Talks,” saying that she has “learned in the great the two universities merged as Dillard one of the most widely read syndicated University of Hard Knocks a philosophy University. newspaper columns of the 1930s and that no woman who has had an easy life ’40s. Her work appeared in more than ever acquires.” Her own experience with 200 newspapers worldwide, with an esti- hardship may have helped her become mated readership of 60 million. such a well-loved advisor. The photo- Dix was born at Woodstock graph of Dix is inscribed, “Ever your Plantation in Tennessee and at age 21 friend Dorothy Dix To Magie and Allen married George Gilmer. Although he Vories 1941.” Allen Vories owned a bak- was mentally unstable, she remained ing company and lived on Audubon with him for 40 often difficult years, Boulevard. until he was committed to a mental Arthur P. Bedou, who took the institution. While on the Mississippi image of Dix at right, was a well-known Gulf Coast recovering from a nervous and highly regarded photographer for breakdown (her own, unfortunately), more than 60 years and had the distinc- she met Eliza Nicholson, owner of the tion of being Booker T. Washington’s New Orleans Daily Picayune, who pub- personal photographer. Known for his lished one of Dix’s articles—a short piece stunning portraits and landscapes, Bedou of fiction called “A Story of War Times: also documented public events and pho- How Chloe Saved the Silver”—in 1886. tographed school groups and benevolent

The Historic New Orleans Collection Quarterly 17 they were dispatched to the other end of the Confederacy almost at the begin- ning of the war,” Roe writes. On October 1, 1861, the prisoners were delivered to the brigadier general of militia and provost marshal of New Orleans, Henry William Palfrey (1798– 1866)—ironically, a native of Boston whose father, John Palfrey, had settled in New Orleans in 1810. General Palfrey quartered the prisoners in a wing of the parish prison on Orleans Street (near the rear of the present-day Municipal Auditorium), which had been emptied of its civil criminals, and allowed the captives use of the large courtyard for exercise. The account speaks well of General Palfrey’s treatment of the military pris- oners, remarking that he ensured that Images include fashionably dressed with the recent purchase of The Fifth clothing sent from the federal govern- campus groups and couples, as well Regiment Massachusetts Volunteer Infantry ment for the men “was given out impar- as beach parties, probably on Lake in Its Three Tours of Duty. . . .Written tially and expeditiously, with as much Pontchartrain, which offer examples of by historian Alfred S. Roe (1844–1917) care as would have been used in our own what well-dressed young people were and published in 1911 by the Fifth army.” After adjusting to their new situ- wearing in the late 1920s. A sense of Regiment Veteran Association, the book ation, the prisoners organized a debat- humor pervades the album, with pho- describes the lengthy imprisonment ing society, Bible study groups, and a tographs of couples cut out in heart of the men of the Fifth Massachusetts newspaper, “The Stars and Stripes.” The shapes, while another showing a group and is profusely illustrated with portrait newspaper’s articles were written on of swimmers is cut out in the shape of a photographs and engravings. envelopes and scraps of paper, which shrimp. Captured on July 21, 1861, follow- were preserved and later printed in A number of captions wax nostal- ing the First Battle of Bull Run (also Boston. gic for school days and times gone by, called First Manassas), 24 men from the To celebrate Christmas 1861, the often using 1920s slang (see image on Fifth Massachusetts joined nearly a thou- POWs arranged a program of songs p. 17). These captions, cut out from paper sand other Union soldiers in Richmond, and recitations, which they presented and glued into the album, include: “Old Virginia, prisons improvised from from a second-floor platform to the Friends,” “The Old Gang,” “naughty- tobacco warehouses and cotton facto- men assembled in the courtyard. At baby,” “‘Dangerous Curves,’” “Good ries. The Confederate government soon the finale, George T. Childs of the Fifth Little Bad Little You,” and “Everybody is found housing and feeding an increas- Massachusetts sang “The Star-Spangled Cuckoo.” Inside the cover, a name in faded ing number of prisoners to be too much Banner,” waving a small silk flag he had white ink identifies the album’s probable of a strain on local resources, so it sent kept hidden until that moment, electri- owner and address: “Corrine E. Denson the men in groups of 500 to Charleston, fying the homesick soldiers. In February / 5033 Magnolia Street / Crescent City / South Carolina; Macon, Georgia; 1862, the New Orleans prisoners were uptown 3182.” (2013.0074.2) Tuscaloosa, Montgomery, and Mobile, transferred to Salisbury, North Carolina, —John T. Magill Alabama; and New Orleans, Louisiana. where they spent “the remainder of their Those sent to New Orleans included the stay in Rebeldom.” (2013.0158.1) Library men of the Fifth Massachusetts, soldiers ■ Sue Laudeman (Mrs. W. Elliott For the second quarter of 2013 (April– from other New England–based units, Laudeman III), whose most recent role June), 37 acquisitions totaling 95 items and a group of soldiers from Ohio, all of during 35 years at The Collection was were accessioned. them Oberlin College undergraduates. curator of education, retired on February ■ The library has added to its collec- “It was a melancholy outlook for 28 (see the Quarterly, Spring 2013, tion of Civil War regimental histories the young Massachusetts soldiers when p. 11). Upon leaving, she generously

18 Volume XXX, Number 4 — Fall 2013 donated books from her personal collec- waxed paper as resources were diverted manuscript drafts and notes for both tion to the library. A variety of interests to the war effort. The second ledger doc- published and unpublished writings, are reflected in the titles, some of which uments the bakery’s finances during the including an unpublished memoir and include Amazing Grace: An Anthology of 1950s, when Alvin F. Meyer was run- his “Southern Book,” an analysis of Poems about Slavery, 1660–1810, edited ning the business. (2013.0157) Southern race relations in the 1940s and by James G. Basker (Yale University ■ Raised in his mother’s Canal Street ’50s. (2013.0184) Press, 2002); The Impact of the Haitian boarding house, writer Thomas Sancton ■ The Thomas Sancton Sr. Jazz Revolution in the Atlantic World, edited (1915–2012) attended Beauregard Collection, a gift of Thomas A. Sancton, by David P. Geggus (University of South Elementary School and Warren Easton includes articles, notes, and correspon- Carolina Press, 2001); High on the Hog: A High School before completing his dence concerning New Orleans jazz Culinary Journey from Africa to America, education at Tulane University. While and the early years of Preservation Hall, by Jessica B. Harris (Bloomsbury, 2011); still a student, he found an entry-level an institution Sancton Sr. (the same The Defense of Vicksburg: A Louisiana job at the Times-Picayune, which, upon Thomas Sancton described in the pre- Chronicle, by Allan C. Richard Jr. and Sancton’s graduation, hired him as a vious item) enthusiastically supported. Mary Margaret Higginbotham Richard full-time reporter. Leaving New Orleans Highlights include correspondence (Texas A&M University Press, 2004); in 1940, Sancton moved to New York, with Frederic Ramsey, who shared with and My Father’s People: A Family of where he served as managing editor of Sancton an interest in Buddy Bolden. Southern Jews, by Louis D. Rubin Jr. the New Republic before accepting a posi- This additional Ramsey correspondence (Louisiana State University Press, 2002). tion as Washington editor of the Nation. complements the Frederic Ramsey Jr. (2013.0127.2, .3, .4, .7, .9) Through editorials written for both pub- Papers, which The Collection acquired —Pamela D. Arceneaux lications, Sancton attacked segregation in 2006. and racial inequality, becoming a lead- Among the collection’s photographs Manuscripts ing voice in the civil rights movement. of musicians is a disturbing image of For the second quarter of 2013, 22 acqui- In 1949 he returned to New Orleans to Papa John Joseph just after he collapsed sitions totaling approximately 52 linear work as a features writer for the Item. on the floor of Preservation Hall. (Joseph feet were accessioned. Sancton’s novels, Count Roller Skates died in that incident.) Performers rep- ■ Two ledgers from Meyer’s Bakery (1956) and By Starlight (1960), were resented in the jazz collection include provide a glimpse into the daily not commercially successful, but his Alphonse Picou, Punch Miller, Louis expenses and income of a Ninth Ward friendships with noted writers enhanced Keppard, Papa Celestin, and George bakery that operated at the corner of his standing in New Orleans literary Guesnon. (2013.0185) Dauphine and Desire Streets from 1905 circles. The Thomas Sancton Sr. Papers —Mary Lou Eichhorn to 1965. Established by Otto R. Meyer include correspondence, photographs, (ca. 1872–1927), the bakery at 3400 and ephemera documenting Sancton’s Dauphine Street produced Meyer’s Tasty journalism career—including photos Loaf, “A Finer Flavored French Bread.” from his time at the Item and materials Following Meyer's death in 1927, his related to his Pulitzer Prize–nominated widow, Katherine Eckendorff Meyer (ca. investigation of conditions at the state 1879–1950), ran the family business penitentiary at Angola—and his friend- until her own death in 1950, at the age ships with Eudora Welty and other well- of 71. The couple’s son, Alvin F. Meyer, known literary figures. then ran the bakery for 15 years, until Among Sancton’s correspondents his retirement in the mid-1960s. were James Thurber, author of The Secret The older of the ledgers—both Life of Walter Mitty; publisher Henry part of the Meyer and Gonzales Family Luce, creator of Time, Life, Fortune, and Papers, a gift of Beth D’Aquin—covers Sports Illustrated magazines; and Nobel the period from September 1935 to May laureate Saul Bellow. Additional cor- 1947, when the founder’s widow man- respondents represented in the Thomas aged the bakery. Among the changes Sancton Sr. Papers include literary critic Katherine Meyer documented in her Maxwell Geismar, civil rights activist daily tallies were the financial impacts of and Strange Fruit author Lillian Smith, the newly implemented Social Security and A. J. Liebling, author of The Earl tax and the increasing cost of flour and of Louisiana. Sancton’s papers include

The Historic New Orleans Collection Quarterly 19 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 at www.hnoc.org ADDRESS SERVICE REQUESTED

Marble Marvels at The Shop

Poissons magnets, $7; Poissons paperweight in gift box, $17; “Company at Sea” set of four coasters in gift box, $45; “1731 Map of New Orleans” set of two coasters in gift box, $25

The Shop is pleased to offer exclusive merchandise inspired by THNOC’s outgoing exhibition Pipe Dreams: Louisiana under the French Company of the Indies, 1717–1731. The fanciful watercolors of Marc-Antoine Caillot, whose memoir THNOC recently published as A Company Man: The Remarkable French-Atlantic Voyage of a Clerk for the Company of the Indies, have been transferred to authentic botticino marble tiles using state-of-the-art digital technology. Carved from ancient marble blocks, no two of our stones will ever be alike!

The Shop at The Collection, located at 533 Royal Street, is open Tuesday–Saturday, 9:30 a.m.–4:30 p.m., and Sunday, 10:30 a.m.–4:30 p.m. For more information about The Shop, call (504) 598-7147, or visit www.hnoc.org to shop online.