The Historic New Orleans Collection Quarterly

Home , Alvin Tyler, Barbara George, Congo Square, Ed Blackwell, Ernest McLean, Harold Battiste

Volume XXVII, Number 2 Spring 2010

Unfinished Blues: Memories of a New Orleans Music Man Harold Battiste Jr. The Historic New Orleans Collection Quarterly 1 Unfinished Blues: Memories of a New Orleans Music Man uring an eclectic career span- nessman, Battiste founded All for One ning half a century, Harold Records (AFO), the nation’s first record DBattiste Jr. has shared his label owned and operated by African passion for music with millions. As an American musicians, and recorded the educator, Battiste used his experience as first wave of contemporary jazz artists in a high-school bandleader and worked New Orleans, including clarinetist Alvin alongside Ellis Marsalis to build the jazz Batiste, drummers Ed Blackwell and studies program at the University of James Black, saxophonists Nat Perrilliat New Orleans. He can count among his and Alvin “Red” Tyler, and pianist Ellis protégés many of today’s leading young Marsalis. As a community leader, Bat- jazz musicians—a “next generation” of tiste served on the Louisiana State Music artists keeping the New Orleans sound Commission, the New Orleans Jazz & alive. As a producer, Battiste helped to Heritage Foundation School of Music, Harold Battiste’s grammar-school graduation launch the careers of Dr. John, Sonny the Louisiana Jazz Federation, and the photo, 1944. All photographs in this article are & Cher, and Barbara George. As a busi- Congo Square Cultural Collective. from the Harold Battiste Papers (2008.0225), In 2008 Battiste donated his dia- gift of Harold R. Battiste Jr. ries, photo albums, and other music- industry memorabilia to The Historic drums. Most of the popular music of New Orleans Collection. This June The the day—all of it, really—was by White Collection releases his heartbreakingly singers and bands. I knew their names frank memoir, Unfinished Blues, Memo- and their music, but I didn’t know ries of a New Orleans Music Man—the they were White. In fact, the question first publication in The Collection’s new never came up. Glenn Miller, Artie Louisiana Musicians Biography Series. Shaw, Harry James, Benny Goodman, Exploring the struggle between art and and Woody Herman were the names I commerce, work life and home life, heard. Rarely, if ever, did I hear about Battiste’s story is set against a fascinat- Count Basie, Duke Ellington, Lionel ing backdrop: the world of mid-20th- Hampton, Fletcher Henderson—any of century jazz and pop music in two of the Black big bands. My mother’s cedar the country’s great music cities, New chest (which I held on to for 50 years) Orleans and Los Angeles. The book was peppered with little fork holes from showcases materials from the Harold my drumming sessions. Battiste Papers at The Collection, as well Unfinished Blues: Memories of as images from the Amistad Research First Gig (1940s) a New Orleans Music Man Center, the Hogan Jazz Archive, and My first real gig was in 1949. Joe Jones, a By Harold Battiste Jr. Dillard University. Unfinished Blues guy from the 7th Ward who played piano with Karen Celestan begins as Battiste’s story but ends as a in the 333rd [the U.S. Army Reserve Published by communal story of struggle, strength, Band Battiste played with while at Dil- The Historic New Orleans Collection and renewal. lard University], had a big dance band Louisiana Musicians Biography Series that featured several of the cats from June 2010 Release The following excerpts are from the memoir. the army band. I was invited to rehearse with the band playing the third alto sax. Cloth • 8 x 10 • 198 pages Singing and Playing (1930s) . . . Joe got a gig for the band to play a 113 images: 63 color, 70 black and white When I was younger I showed an inter- Sunday-evening dance at the Pentagon, a $28.95 est in music that no one seemed to rec- club in the 7th Ward. This was to be my Order from The Shop at The Collection ognize. Whenever “Midday Serenade” maiden voyage, and I was scared. Fortu- (504) 598-7147, www.hnoc.org came on the radio, I’d get two nice nately, I didn’t have to take any solos so I bouncy forks from the kitchen and play made it through the gig unexposed. . . . 2 Volume XXVII, Number 2 — Spring 2010 Battiste on tour with Sonny & Cher during a stint at the Blue Room in the Fairmont Hotel, New Orleans, 1970, photo by Porter News Service

Sonny & Cher (1960s) One day in late May or early June 1965, AFO party for music industry players at Vernon’s Supper Club, 1961, photo by Sonny [Bono] called and came over to Porter News Service. Left to right: Henry Hildebrand, [?] Schafer, Cannonball my house on Mansfield [in Los Angeles]. Adderley, George Trueheart, Nat Adderley, Harold Battiste, Mel Lastie, Hoss He was really excited, wearing his jack- Allen, Peter Badie, Cosimo Matassa, Alvin Tyler pot smile. He knew that this was it— he’d come up with the song that would Outside, after the gig, all the cats American music industry. In the three define a place in history for Sonny & seemed to be in little huddles, laughing years I’d worked for Specialty Records Cher! He went to my piano and plunked and talking. Joe came over to me and [a Los Angeles–based record company], out his new song with those soon-to-be put six bucks in my hand. I asked him, I’d become familiar with how the music famous three chords: “It’s like a waltz,” “What was that for?” He sort of laughed business worked. I thought, This ain’t as he said. I got to the piano and he sang and said that was my pay for the gig. I complicated as I thought. We can do this! while we played with it a while, until he did not understand how or why he was With the plan I had in mind, I felt comfortable. I agreed that the lyrics giving me all that money for having so would need Melvin Lastie, the union were cute and catchy, but I wasn’t too much fun and feeling so good—and for rep for the local 496 [the African Ameri- sure about the waltz thing. He kept sing- just four hours! . . . Years later, I learned can musician’s union]. . . . Melvin and I ing the “oompah-pah, oompah-pah,” that Joe had paid all the other cats twice started by identifying the studio musi- like a tuba and trombone thing. as much as me for the gig! cians with the best track records in He wanted to go into the studio town. We needed a foundation of basic quickly—like tomorrow. As I thought All for One (1950s) instrumentation for the company. We about how to make this come off like he For some time, I had been thinking approached each musician individually wanted, I figured out how to change the about the economic state of Black peo- and laid out the plan. John Boudreaux waltz feeling to a 6/8, with a little brighter ple in America and, more specifically, would play drums; Peter “Chuck” tempo, and to soften the “oompah-pah” Black people in New Orleans. I’d been Badie, bass; Allen Toussaint, piano; Roy with woodwinds—bassoon and oboe— listening to speeches from the Honor- Montrell, guitar; Alvin “Red” Tyler, in place of brass. able Elijah Muhammad, messages that saxophone; with Melvin on cornet. I The musicians we assembled for often spoke to the need for our people was elated and surprised that this dream that day came to the studio routinely— to create wealth through ownership. team of studio players—a first-call cache they just did what they do all the It seemed that every ethnic group was of musicians who were known for their time. . . . Sonny managed the orches- identified with a product or service experience, professionalism, and abil- tra, and I served as arranger, copyist, that they owned and controlled, and it ity to make hits happen—were anxious and bandleader. For the studio guys, it seemed that the product generally attrib- to be a part of our experiment. . . . On was just a day’s work; for Salvatore and uted to us was music: jazz, blues, R&B, May 29, 1961, at twelve o’clock noon, Cherilyn, a new life. Although I didn’t gospel. We should be working toward the state of Louisiana acknowledged get it at the time, “I Got You Babe” was collective ownership and control of the the legal birth of AFO Records, Inc. changing my life, too. The Historic New Orleans Collection Quarterly 3 his vocals could pass as Black; he was a He was one of those cats who was so well performer like Tom Jones. But he had a known in the music community that no manager who thought that the Dr. John one ever asked for his full name. . . . character would not be good for his Looking back at this mixed bag of career. I felt that Mac’s sound was right characters, it seems amazing that we got for the part, but he was reluctant too. anything done. The studio was like a He didn’t see himself as an upfront art- Mardi Gras reunion, everybody laugh- ist. I saw the whole concept as a tongue- ing and talking, telling stories all at the Battiste and Mac Rebennack (a.k.a. Dr. John) at in-cheek thing. same time. But once we got settled, the Gold Star Recording Studios, Los Angeles, photo In late summer 1967 I booked stu- vibe was there and the music just flowed. by Jasper Daily dio time at Gold Star Recording Studios I felt better than I had felt in the studio [in L.A.] and got a cat called Soulful in a long time. I was comfortable, con- Dr. John (1960s) Pete to engineer the sessions. . . . We nected spiritually to the people and the When I decided to choose an artist collected our cast of New Orleans refu- music we were making. I became more to record on Progress Records—the gees who understood the spirit of what involved than I had expected, and it side project Sonny and I got going in was going down. This was not to be a became more than a production to me. 1967—I approached Mac [Rebennack] proper production with music arrange- first, asking if he had anything he wanted ments and everything by the number. Professor Battiste (1980s) to record. Mac told me that he had been We would have to create and develop Since attending Jazz Fest several times reading up on this character called Dr. a vibe in the studio where the spirit led in the last few years, I’d been having John from the New Orleans voodoo tra- the way. thoughts of developing a professional dition and wanted to work something The cast included Mac on guitar, jazz school in New Orleans like the ones around that. The concept appealed to keyboards, and vocals; John Boudreaux flourishing in Los Angeles. . . . Chancel- me immediately. I envisioned creating a (one of the AFO Executives) on drums; lor Gregory O’Brien of the University of new sound, look, and spirit to the popu- Bob West on bass; Ronnie Barron, key- New Orleans was already talking to Ellis lar psychedelic/underground wave. boards (and vocals); Ernest McLean, [Marsalis] about starting a jazz studies program at UNO. I met with Ellis and Dr. Charles Blancq, professor of music at UNO, in San Diego. I don’t recall all the details of the meeting, but I remember that everything was agreeable; we needed each other. If I accepted their offer, I would start at UNO in the fall 1989 semester. . . . [I was] thinking about how I could operate in this new arena. . . . I wanted to employ new approaches [to music education] that resembled the way the original jazz masters had learned. Though there had not been any formal research done on the ways that they had learned, it was the same way that I had learned. I respected the method of the Battiste teaching in Innsbruck, Austria, ca. 1995. In the summers of 1995 and 1996, Battiste took a group masters because it had worked for me. I of students from UNO’s jazz studies program to Europe to “gain the experience of learning by teaching.” focused on ear use—not ear training. Ear training involves learning to read music We discussed the project for a few guitar/mandolin; Steve Mann, guitar; from sheets and transfer that knowl- days, then Mac and me started selecting Plas Johnson, saxophones; Lonnie Boul- edge through sight down to the fingers musicians, singers, and tunes. The main den, flute; and singers Tami Lynn, Shir- in order to play the assigned notes. Ear character, Dr. John, was to be performed ley Goodman, Joanie (I don’t remember use involves playing notes and chords by Ronnie Barron, another New Orleans her last name), Dave Dixon, Jessie Hill, that are pleasing to the ears—with the transplant, a White guy we knew from and Al Robinson. I filled in on bass and optimum word being playing, which is back in the day. Ronnie had a great sing- vocals. On percussion was a guy called associated with fun. . . . ing voice for R&B and pop music, and Didymus; I never knew his real name. —excerpted from Unfinished Blues 4 Volume XXVII, Number 2 — Spring 2010 Poydras Street Market 1838–1932

Poydras Market by Charles L. Franck Photographers, ca. 1930 (1979.325.3983)

nce touted in the Daily Picayune wares as “Jenny Lind sausages—five for families with young children were mov- as being “the most handsome a pic!” ing away. As 1932 drew to a close, the Ostructure of the kind in our city,” Many of the market merchants were last sections of the Poydras Market were the Poydras Street Market opened on well known throughout the city. Charles demolished, and this open-air complex, July 4, 1838. Constructed to serve the Feahney roasted and sold his own Poydras which had anchored a community for inhabitants of the rapidly growing rear Market brand coffee from the grocery almost a century, faded into obscurity. section of the Second Municipality and he had operated in the market since the Vintage images of the Poydras Mar- Faubourg Ste. Marie, the original market 1880s. Other market businesses were ket are among items now on display in was located in the median of Poydras multi-generational family operations: the Williams Research Center’s Reading Street between present-day Baronne the Dazet and Hoth families sold meat, Room as part of the exhibition Poydras and Rampart streets and measured for instance, and the Flettriches oper- Street Market, 1838–1932. 42 feet wide by 402 feet long. Highly ated Lawrence's Restaurant. Outside the —Mary Lou Eichhorn successful, the market later expanded market but in the vicinity, the Zerrs cut toward the lake with the addition of the hair, the Monjures sold raw oysters, and iron-constructed Pilié Market in 1867. descendants of the Maylié and Esparbé As reported in New Orleans news- families served meals from their famous papers, the Poydras Market and its corner restaurant. Exhibition coffee stands were frequented by a host By the turn of the 20th century, the of famous personalities. Its location near Poydras Market’s heyday had come to hhh newspaper offices made the market a an end. Families that once embraced an popular destination for reporters and urban lifestyle and obtained their daily columnists, including internationally necessities from the public market were Poydras Street known Henry Guy Carleton and Lafca- moving away to newly created neighbor- arket dio Hearn during their years as writers hoods and suburbs accessible by recently M for the Item. William Sydney Porter, bet- installed electric streetcar lines. In 1903 1838–1932 ter known as humorist O. Henry, also the Pilié Market was demolished and frequented the market before becoming some of its architectural elements were On view in the Reading Room a household name. And long before he used to construct three new markets: Williams Research Center became known for tea and yachting, the Mehle on Howard Avenue near Sev- young Thomas Johnstone Lipton ate enth Street, Memory at D’Hemecourt 410 Chartres Street inexpensive meals in the coffee stands. and South Lopez streets, and Ewing at Adventurer Henry Morton Stanley Magazine and Octavia streets. The Pilié Through July 1, 2010 worked for a Poydras Market green- Market site was later redeveloped and grocer before going to Africa to seek became, in 1908, the city’s first public Tuesday–Saturday Stanley Livingston. When opera singer playground. Philanthropist and civic 9:30 a.m.–4:30 p.m. Jenny Lind visited New Orleans in leader Olive A. Stallings personally 1851, the Louisiana Courier reported financed the Poydras Playground’s con- an unnamed Poydras Market butcher struction and early operational expenses. Free and open to the public attempting to capitalize on the Swedish Unfortunately, the playground came to Nightingale’s popularity by hawking his the neighborhood at a time when many

The Historic New Orleans Collection Quarterly 5 In the timeline of history, half a decade the experiences of first responders and Katrina+5 are merely a fraction of the constitutes not even the blink of an eye, a citywide photo documentary proj- oral history materials archived at The but for many residents of the Gulf Coast ect intended to capture the scale of the Collection’s Williams Research Center. affected by Hurricane Katrina, the past visual chaos left in Katrina’s wake. Selec- As time marches on, additional accounts five years have seemed like a lifetime. Yet tions from these projects form the core and images continue to be recorded and time has moved on. Five years after the of Katrina+5. Other items on exhibit collected. storm, recovery efforts have produced include historical maps and documents * a mixed bag of results across our city. exploring the history of tidal flooding In the nearly five years since Katrina’s The exhibition Katrina+5: Documenting and storm surge in New Orleans over landfall, the photography staff at The Disaster, on display in the Williams Gal- the course of the past two centuries and Collection has made three distinct lery from May 12 through September interactive multimedia stations featur- efforts to mark the progress of physical 12, is a reminder of the history made ing film and video clips. rebuilding. The first images date from since August 29, 2005, and The Collec- * late 2005 and early 2006; in 2007, addition’s ongoing efforts to record it. Oral histories from six local, state, and tional photography was accomplished. The “history in the making” qual- federal emergency response agencies are And in the last several months, another ity of Katrina’s landfall, the subsequent featured in the exhibition: the Arkansas round of documentation occurred, with flooding of New Orleans, and five years Army National Guard; Disaster Medical staff photographers heading back to of recovery and rebuilding efforts pre- Assistance Team (California-6); Loui- St. Bernard Parish and the Lakeview, sented a dizzying array of documenta- siana departments of Corrections and Broadmoor, Lower Ninth, and Uptown tion possibilities to an institution tasked Wildlife and Fisheries; and the New neighborhoods (among others) in New with preserving our city’s history. Faced Orleans and St. Bernard Parish fire Orleans. In total, THNOC personnel with the work of chronicling both departments. They provide the eye- have dedicated countless hours and unprecedented devastation and the city’s witness accounts of Katrina’s chaotic more than 2,700 shots marking the pace recovery, The Collection implemented aftermath. The oral histories are con- and state of change since the storm. two long-term institutional initiatives textualized by photographs made by —John H. Lawrence in early October 2005: an extensive oral members from each organization. The history program focused on recording photographs and interviews included in

Boathouse, West End Marina, October 20, 2005, and January 12, 2010; photos by Tere Kirkland

6 Volume XXVII, Number 2 — Spring 2010 F ro m t h e D i r e c to r

n the fall I was privileged to make a presentation in Istanbul, ITurkey, to the International Council of Museums’ commit- tee on museums of cities. Attendees from museums around the world shared experiences and accomplishments with one another. New Orleans’s ordeal during and after Hurricane Katrina proved to be of great interest to conference participants. Ironically, Istanbul had just suffered a similarly disastrous flood. In my talk on The Collection’s response to Katrina, I discussed the role that museums play in cities that have just experienced once-in-a-lifetime disasters, asking the question: “What is our place in the mix as outside agencies rush in to create Web sites, mount exhibitions, collect oral histories, and otherwise seek to make a difference?” As a historical institution, The Collection chose to document the chaotic days immediately following Katrina by launching a comprehensive oral history program capturing the experiences of the first responders. The institution also recorded Top: Karen Smith in front of her house, 6438 Milne Boulevard, Lakeview, the state of the city by sending its staff photographers out to October 20, 2005; bottom: Smith family at the same address, January 12, 2010; strategically photograph each neighborhood. photos by Keely Merritt One U.S. colleague at the Istanbul gathering, having knowledge of the event primarily through the media, stated that the disaster response was “about race and class.” It is our hope that the oral histories and photographs will provide a well-rounded, honest record of the days following the storm Exhibition for researchers to interpret for years to come. The overall theme of the Istanbul conference, “Collecting hhh in the Digital Age,” carries particular relevance for The Katrina+5: Documenting Disaster Collection. Originating as digital documents, oral histories and photographs differ greatly from other primary historical On view at 533 Royal Street materials, which are usually works on paper. The oral history collection comprises hundreds of sound recordings and May 12–September 12, 2010 related materials, including photographs taken by first responders. The in-house-generated photography collection consists of more than 2,700 digital images. Transcribing, Tuesday–Saturday cataloging, storing, and preserving digital materials is 9:30 a.m.–4:30 p.m. costly and requires every bit of the care and planning that Sunday, 10:30 a.m.–4:30 p.m. traditional materials demand. Katrina+5: Documenting Disaster, the exhibition opening Free and open to the public in the Williams Gallery this month, provides the public with the opportunity to explore these materials and learn about The Collection’s contribution to post-Katrina New Orleans. —Priscilla Lawrence

The Historic New Orleans Collection Quarterly 7 Banana Tree by Women Artists Christine Cozic, 1994 (George Febres Collection in Louisiana of Louisiana Art, 1996.78.2.30), 1965–2010 gift of Dr. Jerah Johnson

n March 17, The Historic abstract expressionism. Many artists Hornback, Jacqueline Humphries, Ida New Orleans Collection and explored representational subjects while Kohlmeyer, Carol Leake, Shirley Rabé Othe New Orleans Museum of others continued to focus on formal ele- Masinter, Chyrl Savoy, Eugenie “Ersy” Art unveiled the second installment of ments: form, line, color, shape, space. As Schwartz, Patricia Whitty, Margaret the two-part exhibition celebrating the a wider range of subject and approach Witherspoon, Mildred Wohl, and Jes- accomplishments of Louisiana women found acceptance, it became the norm selyn Zurik. Works by the following artists. Women Artists in Louisiana, to exhibit non-objective and representa- photographers are also included: Debbie 1965–2010 is the seventh joint exhibi- tional work side-by-side. Fleming Caffery, Sandra Russell Clark, tion presented by the two museums. Women Artists in Louisiana, 1965– Dawn Dedeaux, Josephine Sacabo, and Featuring more than 40 paintings, sculp- 2010 showcases a range of artists whose Tina Freeman. tures, photographs, and works of deco- work reflects the changing world of art The accomplishments of these indi- rative art by 35 artists, the exhibition in this period. The exhibition acknowl- viduals were made possible by the pio- continues where the first installment edges the accomplishments of artists neering artists featured in the exhibition’s paused: at the dawn of postmodernism. whose reputations are well established first installment last spring. Women Art- As artists began anew to question locally and nationally, as well as those ists in Louisiana, 1965–2010 continues the purpose of art in the late 20th cen- whose careers are still escalating, includ- to explore the artistic contributions that tury, there occurred greater freedom in ing Jacqueline Bishop, Lynda Beng- women have made to art and culture artistic expression, particularly in paint- lis, Jane Nulty Bowman, Lin Emery, throughout the history of the state. ing. Painters experimented with the Mignon Faget, Suzanne Fosberg, Joanne —Judith H. Bonner full range of early 20th-century trends: Greenberg, Angela Gregory, Shearly dadaism, surrealism, symbolism, and Grode, Ronna Harris, Gail Hood, Ann

Exhibition

hhh Women Artists in Louisiana 1965–2010

On view at the New Orleans Museum of Art City Park Through September 12, 2010

Wednesday, 12–8 p.m. Thursday–Sunday, 10 a.m.–5 p.m.

Visit www.noma.org for admission rates

Little Tchefuncte by Gail Lynn Johnson Hood, 1987 (1998.51.2) 8 Volume XXVII, Number 2 — Spring 2010 Rare 18th-Century Portraits Bear Connection to Battle of New Orleans

he Historic New Orleans Col- lection recently acquired por- Ttraits of sugar planter Pierre Denis de la Ronde (1726–1772) and his wife Marie Madeleine Broutin de la Ronde, who were connected, through their son, to the Battle of New Orleans. The oil paintings by an unknown artist, probably executed in France about 1760, are rare examples of portraits of Louisianians from the French colonial period. The acquisition was made possible by the Diana Helis Henry Fund of the Helis Foundation and the Laussat Society of The Collection. Born in Quebec, Pierre Denis de la Ronde was the son of Louis Denis, chevalier de la Ronde, and Marie Lou- ise Chartier de Lotbinière. An officer in Marie Madeleine Broutin de la Ronde and Pierre Denis de la Ronde, ca. 1760 (2009.0231.1,.2), the French military, Pierre Denis was acquisition made possible by the Diana Helis Henry Fund of the Helis Foundation and the Laussat Society detached by King Louis XV and assigned to duty as ensign-en-pied in the Infantry met, after whom the town of Chalmette also served as a hospital for British sol- of the Marine, an elite military train- is named. diers, was where Major General Samuel ing corps. At the age of 21, he was sent Pierre Denis and Marie Madeleine Gibbs died, Major General John Keane to Louisiana and stationed for a time were married in 1756. Their son Pierre was taken after being wounded, and the in Natchitoches. He became a knight Denis de la Ronde fils was born in 1762 body of Major General Edward Pak- of the Royal and Military Order of St. in what is now St. Bernard Parish. In enham was taken after being mortally Louis, an order established by Louis 1799 de la Ronde fils bought property wounded. XIV for officers who had served merito- along the Mississippi River, three-and-a- De la Ronde fils, who was a colo- riously in the king’s navy for at least ten half miles downriver from New Orleans nel in command of the Third Regiment years. Sometime after 1755, de la Ronde in the area now known as Chalmette, during the Battle of New Orleans, rose retired and settled in New Orleans as where he built a palatial two-story, 16- to the rank of major general in the Loui- a sugar planter. During the transition room brick house with a cement finish. siana Militia. He died in the house in from the French to the Spanish rule of The house was similar in plan and exte- 1824. Today the brick ruins of the plan- Louisiana, de la Ronde opposed many rior to the Ursuline Convent designed tation lie surrounded by an ironwork policies of the Spanish government. He by Broutin. A brick sugar mill and slave fence on what is now the neutral ground represented the business interests of the quarters for 80 families were also con- of St. Bernard Highway near Paris Road. sugar planters as an appointed official. structed on the grounds. The portraits of de la Ronde’s par- Marie Madeleine was the daughter The de la Ronde plantation served ents, which are newly conserved and of Madeleine Marguerite Lemaire and as the headquarters for the British com- will be on view in the Counting House Ignace François Broutin, chief engineer mand during the Battle of New Orleans. at 533 Royal Street in mid-May, serve as of the Louisiana colony, who designed The battle was fought principally on de an important link to both the historic the former Ursuline Convent on Char- la Ronde’s plantation, which was the battle and the colonial period in Louisi- tres Street among other early buildings. site of a surprise night raid by Major ana’s history. Marie Madeleine was also the widow of General Andrew Jackson’s troops on —Judith H. Bonner Louis Xavier Martin de Lino de Chal- December 23, 1814. The home, which

The Historic New Orleans Collection Quarterly 9 Chêne Vert, restored by Cheryl and Wayne Stromeyer The Historic New Orleans Collection presents Enameled English drawer Thursday, August 5 pull from Creole-style inlaid armoire, 1810– Optional preconference day 1830, courtesy of the collection of Dr. and Living with History Mrs. Robert C. Judice Day trip to Chêne Vert and Destrehan Plantation Friday, August 6 Saturday, August 7

Welcome The Louisiana Campeche Chair Priscilla Lawrence, Executive Director Cybèle T. Gontar Jack Pruitt Jr., Director of Development Adjunct Professor of Art History and External Affairs Montclair State University The Historic New Orleans Collection Montclair, New Jersey Furnishing Louisiana: Early Creole and Acadian Styles Opening Remarks: A Meandering Journey: Vine-Inlaid y the early 19th century, distinctive this year is an optional Sunday brunch at Engulfed!: Encounters with the Furniture from Here, There, and Creole and Acadian styles of furni- Antoine’s, which will give participants a Deep South Everywhere Bture had emerged in Louisiana and chance to interact with the speakers and other J. Thomas Savage, moderator Andrew Richmond, Vice President throughout the Mississippi River valley. attendees. Director, Museum Affairs Garth’s Auctions, Delaware, Ohio Influenced by French, Caribbean, Cana- Registration for the full conference is Winterthur Museum and Country Estate dian, and Anglo-American design, these $200. Participants may also register for Fri- Winterthur, Delaware Louisiana Acadian Textiles pieces continue to garner attention from day alone ($100) or Saturday and Sunday Jenna Tedrick Kuttruff scholars and collectors. This year’s event together ($125). There are additional charges La Louisiane, La Luisiana, Louisiana Doris Lasseigne Carville and Jules A. is presented in anticipation of the release for the preconference bus tour and Sunday John H. Lawrence Carville Jr. Professor of The Collection’s long-awaited study of brunch. Visit www.hnoc.org/antiques.htm or Director of Museum Programs School of Human Ecology Louisiana furniture (available December call (504) 523-4662 to register. The Historic New Orleans Collection Louisiana State University 2010). The four-day event will be held Furnishing Louisiana Hardware on Early Louisiana Furniture from Thursday, August 5, through Sun- Jack Holden, MD H. Parrott Bacot, Professor Emeritus day, August 8. The forum begins with an Scholar and collector of Louisiana Louisiana State University optional preconference bus tour on Thurs- material culture and architecture day, August 5. Participants will visit two French Quarter Antiques Stroll early plantation homes: Chêne Vert (1830), Creole Furniture from the Upper Valley a private home in Baton Rouge, and of Colonial Louisiana Sunday, August 8 Destrehan Plantation (1787), the oldest Louisiana Creole-style Francis J. “Bill” Puig slat-back children’s chairs, documented plantation home in the lower Consultant, writer, and researcher Panel Discussion: Collecting and 1780–1820, courtesy Mississippi River valley, located near New Connoisseurship of Robert E. Smith, Orleans. Breaux Bridge, La. Inside the Early Creole Home J. Thomas Savage, moderator The forum continues Friday through Brian J. Costello Dr. and Mrs. Robert C. Judice, collectors Sunday in the Boyd Cruise Room of the Historian, author, and archivist Mercedes Bordelon Whitecloud, collector Williams Research Center, 410 Chartres Neal Alford, president and cofounder, Street. A distinguished group of speakers Cajun and Creole Houses, and Their Neal Auction Company will discuss early Louisiana furniture and Relationships to Furnishings Dr. Anne Woodhouse, Shoenberg the architecture and material culture of Jay D. Edwards Curator of Decorative Arts, Missouri the period. J. Thomas Savage, director of Professor of Anthropology History Museum museum affairs for Winterthur Museum Louisiana State University and Country Estate in Delaware, will serve Closing Remarks as forum moderator. Following sessions, Evening Reception Priscilla Lawrence and Jack Pruitt Jr. guests will have the opportunity to socialize The Historic New Orleans Collection at receptions, browse the French Quarter 533 Royal Street Optional Brunch with the Speakers Antiques District, and enjoy the offerings Early 19th-century armoire attributed to Antoine’s Restaurant of The Collection. New to the program Célestin Glapion (2007.0312) Campeche chair, ca. 1815, courtesy of the collection Louisiana Creole-style cabriole-leg table, 1790– The Historic New Orleans Collection Quarterly 11 of Marjorie and Wade Hollensworth 1820, courtesy of the Holden Family Collection Donor Profile: Archie & Adrienne Casbarian

“The moment I fell in love with Archie was when I saw him dressed in costume as a giant fork,” Adrienne Casbarian said. Archie Jr., co-owner of Arnaud’s, the famous French Quarter restaurant, grew up in the family business—his father ran the restaurant for 30 years, re-establish- ing it as a legendary eatery after years of decline. Archie Sr. wanted his children, Archie and Katy, to learn the entrepre- neurial business from all angles—they waited tables, washed dishes, and pol- ished silverware before learning how to manage the establishment. Shortly after Archie Jr. and Adrienne started dating, Archie invited Adrienne to a Mardi Gras party on the balcony of the restaurant. He had to work that day polishing silverware and did not have a costume. When his shift ended, he enlisted Adri- enne’s help. They ducked into a small dining room on the second floor, armed with some industrial-sized tin foil, and nians. After graduating with a double a fridge full of oysters left for weeks in within a few minutes constructed a major in business and Spanish, she was August, Arnaud’s reopened on Thanks- nine-foot-tall fork for Archie to wear. not ready to leave the city. She stayed giving Day of 2005. “Coming back to Adrienne said she looked at this attrac- at Tulane to earn her MBA, followed New Orleans was never a question,” tive, educated man, shamelessly dressed by a law degree. “I was running out of Archie said. “We are committed to the as a giant utensil, and decided, “This is schools,” Adrienne said with a smile. city.” who I need to spend the rest of my life “Thank God I met Archie—I don’t Since Katrina, the restaurant has with.” A few years later, Archie proposed think I could have handled med school.” continued to prosper, and the Casbarian to Adrienne in that same room, the Arn- After 30 years of running Arnaud’s, family has grown with the arrival of two aud’s 1920s room. Archie Sr. passed away in January of sons—Archie III, 2 years old, and Char- Archie grew up in New Orleans but 2009, and together, his children and lie, 5 months old. was raised in Arnaud’s. It was where he wife, Jane, continue his legacy. Jane still Archie and Adrienne have been and his sister played after school and did works in the restaurant daily. Archie Jr. generous enough to support The Col- their homework. The family home was and Katy serve as co–vice presidents. lection. “We’re both in New Orleans on St. Louis Street near the restaurant. “Katy and Archie complement each because we love New Orleans,” Archie Archie graduated from Isidore New- other really well,” Adrienne said. “Like said. “It’s organizations like The His- man School, went on to the University his father, Archie is steady and can han- toric New Orleans Collection that of Pennsylvania in Philadelphia, and dle anything thrown his way. Katy (also help present the history and culture returned to New Orleans after gradua- like her father) studied hospitality at that make the city and state so wonder- tion. Cornell University. She’s the visionary.” ful. If you love New Orleans, you love Adrienne moved to New Orleans at Hurricane Katrina hit the city a year The Historic New Orleans Collection.” age 17 to attend Tulane University and after Archie and Adrienne were mar- —Rachel Gibbons immediately felt at home in the city. “I ried. Despite serious roof damage and found my tribe,” she said of New Orlea- the obvious problems that come with

12 Volume XXVII, Number 2 — Spring 2010 The Historic New Orleans Collection Quarterly 12 Become a Member of The Historic New Orleans Collection

In addition to preserving Louisiana’s past for future generations, you will receive several benefits as a member of The Historic New Orleans Collection.

• Complimentary admission to The Collection’s permanent tours, including the Louisiana History Galleries, Williams Residence, and A Guaranteed Courtyards and Architecture • Invitations to members-only events Plan for the and exhibition previews • 10 percent discount on all items in The Shop at The Collection Future • Subscription to The Historic New n today’s uncertain economic envi- Orleans Collection Quarterly ronment we often see low, if any, • Free admission to the Concerts in Iinvestment return. The charitable gift the Courtyard series annuity offers a guaranteed income for life and freedom from investment worries and management fees, while also providing the opportunity to enjoy tax benefits and the reward of making a meaningful Choose your level of membership gift to a charitable organization such as The Historic New Orleans Collection. Membership at all levels carries benefits for the entire household: a single individual or a In an effort to provide more informa- couple, along with any children under age 18. tion about the many benefits of the charitable gift annuity, The Collection is now offering the booklet Giving Through Gift Founder $35 Laussat Society $1,000 Annuities free of charge. Full membership package Full membership privileges; a special gift; To receive Giving Through Gift private, guided tours of The Collection Merieult Society $100 (by appointment); free admission to all Annuities or to learn more about the gift Full membership privileges; a special gift annuity program, please call Jack Pruitt evening lectures; invitation to annual Jr., director of development and external Mahalia Society $250 gala evening affairs, at (504) 598-7173. Full membership privileges; a special gift; To establish a gift annuity with The private, guided tours of The Collection Bienville Circle $5,000 Collection, the minimum donor age is 60 (by appointment) Full membership privileges; a special gift; and the minimum amount is $10,000. private, guided tours of The Collection Jackson Society $500 Please Note: All inquiries are held in (by appointment); free admission to all Full membership privileges; a special gift; strictest confidence and are without obliga- evening lectures; luncheon with the execu- private, guided tours of The Collection tion. The Historic New Orleans Collection tive director (by appointment); free admission to all does not offer legal or tax advice. We encour- evening lectures age you to consult your legal and financial advisors to structure a gift plan that achieves your giving intentions and meets your par- For more information, please visit www.hnoc.org, or call the Development ticular needs. Office at (504) 598-7173.A ll inquiries are confidential and without obligation.

The Historic New Orleans Collection Quarterly 13 Donors: October–December 2009 Lee R. Adler Mr. and Mrs. Louis Costa Ralph A. Horne Maury Midlo Tiffany Adler Hugh C. Curtis Mr. and Mrs. Harley B. Howcott Jr. Mr. and Mrs. P. J. Mills Mr. and Mrs. Warwick Aiken Jr. Carole C. Daley Candice Huber Anne L. de Montluzin Dr. Carol Allen Jean Dangler and Ainslee Beery Judge and Mrs. Henley A. Hunter J. B. Louise Monuju Lois Anderson Carol d’Aquin Mary Lynn Hyde Jimmy Moran Associated Office Systems/Shelby Russ Marianne and Mark Dauer Newton E. Hyslop Jr. Glenn C. Morgan Deb and Mervin Aubespin Dr. Alicia G. Davis Dr. and Mrs. J. E. Isaacson Jr. Katy F. Morlas Ruth and Richard Autin Suzette Day and Michael Mathes Kay and Trent James Dr. and Mrs. Robert F. Mortenson Jr. Patti and David Averbuck Coaina and Tommy Delbert Mr. and Mrs. R. Andrew Jardine Jennifer Navarre Benjamin Azevedo Margaret DeMoville Mrs. Neill P. Jeffrey Laura Simon Nelson Ann and Charles Babington Patricia Denechaud Mr. and Mrs. Eric Johnsen Dr. and Mrs. John Ochsner in honor of Jessica Dorman Michael S. DePaul Gavin S. Johnson Roger Houston Ogden Cynthia W. Babst The Derbes Family Foundation Inc. Joel C. Johnson Nora A. Olgyay Peter Bachemin Will Dermady Esther A. Jordan Omohundro Institute of Early American Vera B. and Charles L. Bahlinger Sr. Deutsches Haus Dr. Mignon W. Jumel History and Culture Ann B. Bailey The Diana Helis Henry Fund of Mr. and Mrs. Alois Jurcik Dr. Joseph F. O’Neil Barataria Terrebonne Estuary the Helis Foundation Leonard Kilgore Naomi and Larry Orlansky Foundation Inc. Claire Dick Elizabeth Himel Killeen Carol Osborne Marilyn Barnett Wanda Lee A. Dickey Timothy P. Killeen Christine Owen William M. Barnett Douglas G. Dike Ann and Bill Kimsey Blanc A. Parker Björn Bärnheim Roger Drake Dr. Mary Klaasen Mr. and Mrs. Gray S. Parker Judy Barrasso and Brent Barriere Carol Ann Roberts Dumond Charlotte and Thomas Klasson Mr. and Mrs. Donald M. Parrish Vickie Bassetti Brooke Duncan III Mrs. Morris Klinger Judith and Robert Patout Mr. and Mrs. Beauregard L. Bassich Edie and Charles Dunn Mr. and Mrs. Garril Kueber Paul and Lulu Hilliard University Douglas Baz and Charles Traub Fernin F. Eaton Peggy Scott Laborde Art Museum Mr. and Mrs. John D’Arcy Becker J. Peter Eaves Dr. and Mrs. Alvin LaCoste Carolyn Perez Mr. and Mrs. Edward B. Benjamin Jr. Dr. and Mrs. J. Ollie Edmunds Jr. Elizabeth F. Lacroix Carolyn Pratt Perry Robert E. Bermudez Mr. and Mrs. Lucas H. Ehrensing Mary Myrick Langlois Kristina Peterson Marilyn Bernard Mr. and Mrs. John Elstrott Mr. and Mrs. G. Charles Lapeyre Janet Phillpott Henry Bernstein and Jerry W. Zachary Gayle Fertitta Susan R. Laudeman Mr. and Mrs. R. Hunter Pierson Jr. Mrs. William J. Berridge Diane J. Finley, MD John H. Lawrence Dr. Jessie J. Poesch Celeste Berteau-Stover Mr. and Mrs. Richard P. Flatau Frederick Lee Lawson Sylvia Todd Porteous Dr. Anny Bloch-Raymond Mrs. Robert L. Flurry Mrs. Thomas B. Layton Mrs. Leon A. Pradel Nell T. Boersma R. Ann Ford Catherine C. Leake Prince of Wales Social and Pleasure Club Earleen Boisdare William H. Forman Jr. Paul J. Leaman Jr. Sheila and Vincent Provenza Dr. Thomas Bonner Jr. Richard L. Forstall Cynthia LeBreton Mr. and Mrs. Timothy J. Pupo Judith and Bruce G. Bordes Ben Foster Ben Ledbetter Helen and Frank Purvis Jr. Joan B. Bostick Mrs. Richard L. Fowler Laurie Ledet Jeanne P. and Harley C. Rabig Denise A. Boswell, PhD Cynthia Fransen and Craig Kraemer Dr. Alfred E. Lemmon Julia W. and Anthony Radosti Mary Weatherspoon Bowden Christine Franzone-Proudfoot Justice Harry T. Lemmon and Judge Mrs. F. W. Raggio Jr. Brian Boyles Lee Friar Mary Ann Vial Lemmon Kathryn E. Rapier Jean Bragg Maurice L. Frisell Mr. and Mrs. Edward N. Lennox Loraine Rathman, PhD Joan Brashears Dr. Rusty Frye Longue Vue House & Gardens Scott M. Ratterree Mr. and Mrs. Edgar A. G. Bright Jr. Mr. and Mrs. Charles Hartwell Garland Norah and Charles Lovell Mrs. Thomas A. Rayer Eric J. Brock Pat Gaudin Steve Lowery Jan L. Rector Brigid Brown John Geiser III Margie Laws Luke Mr. and Mrs. Edward S. Reed Hugh C. Brown Jr. Mr. and Mrs. James Howard Gibert Diane B. Lyons/Accent on Dr. and Mrs. William D. Reeves Polly and Victor Brown Dr. Dov Glazer Arrangements Inc. Rick Reiners and Ralph Ruder Dr. Robert Nolan Bruce Jr. Mr. and Mrs. Robert B. Golden Rachel Lyons Julie D. Richie Cindy Burdett and Sheryl Smith Mr. and Mrs. John M. Goodwin II Nell and Barry Mabry Mary Alma Riess Virginia F. Burke Doris Ann von Dammerau Gorman Haydee and Kevin Mackey Ann T. Roberts Louise R. Bush Greater New Orleans Community Brigita L. Malm Barbara Robichaux Mr. and Mrs. John W. Calhoun Data Center Mrs. E. Dameron Manard Jerry Robinson Mr. and Mrs. Carlo Capomazza di Erin Greenwald The Honorable Gary J. Mannina Dr. Irving L. Rosen Campolattaro Denise A. Gremillion Linda Marchand Mrs. Melvin M. Rosenthal Gaby and Chris Cannon Gina Gremillion Dr. and Mrs. Richard H. Marshall Harry Ross Mr. and Mrs. Robert W. Cannon Dr. and Mrs. Jeffrey F. Griffin Chickie and John Martin Joe Rubinfine Marian Cardinale George Griswold II Mr. and Mrs. Edward F. Martin Laura A. Ruiz Sonya and Joe Carr Mr. and Mrs. Douglas L. Grundmeyer Barry Martyn Nicole Ruiz Marty Cavendish and Fred Wietfeldt Dell Hall Barbara Mathe and John Swenson Sister Joan LaVerne Rutz Celebration Distillation Corporation Katie Hall Dr. and Mrs. Alvin Mathews St. Denis J. Villere & Company LLC Beverly Cerise Machelle Lee Hall Mr. and Mrs. Montgomery Matthews Molly and Townsley St. Paul Dr. Donald Cerise Merle Harris Mr. and Mrs. Charles B. Mayer Nancy La Fonta de Saintegeme Shannon C. and Arnold S. Chabaud Rubie M. Harris Stephanie Mayne Frances N. Salvaggio Chadwick Family Foundation Mr. and Mrs. Gary Hebert Janet and James McArthur Michael Sartisky, PhD J. Scott Chotin Jr. Carolyn M. Hecker Sharon McClelland and David Frank Saucier Jackeen Kelleher Churchill Imre I. Hegedus Robichaud Save Our Cemeteries Loretta Capdevielle Clark Theresa S. and William P. Heimel Celia and Colin McCormick Stephen A. Scalia Dr. Carolyn M. Clawson Robert Henkel and Burl Salmon Mr. and Mrs. Terry McFillen Mr. and Mrs. Charles William Schmidt III ClearBridge Advisors LLC Marshall Hevron Mr. and Mrs. Thomas C. McGehee Helen L. Schneidau College of DuPage Library Mr. and Mrs. John F. Hills Mr. and Mrs. Thomas T. McGinn School of Design Dr. and Mrs. Hugh M. Collins Mr. and Mrs. L. Alex Himmelberg Molly McGraw Judge and Mrs. Patrick M. Schott Mr. and Mrs. Jeffrey C. Collins Robert C. Hinckley Mr. and Mrs. Charles E. McHale Jr. Elizabeth Lee Scott Consul général de France à Edwin Hoffa John A. McLellan Kathy Sebastian la Nouvelle-Orléans Dr. and Mrs. Gregor Hoffman Mr. and Mrs. Michael McLoughlin Tuna Seither Mr. and Mrs. Tony S. Cook Mary Hoffschwelle and Carroll Van West Julia McNabb Edith Sercovich William C. Cook, The William C. Cook Cynthia Hogan Gerald T. McNeill John B. Sewell Advised Fund of The Community Mona H. Hollier Milton E. Melton Ellen T. Sherman Foundation of Middle Tennessee Mr. and Mrs. John C. Hope III Sam Menszer Gracia and Barry Siegel 14 Volume XXVII, Number 2 — Spring 2010 and other materials belonging to Briga- Leatrice S. Siegel acquisitions Jane and Dan Sikes dier General John Coffee. The book fills Mr. and Mrs. R. Hugh Simmons The Historic New the chronological gap between the other Flo Mary Scheib Simonson Dr. and Mrs. Charles Rodney Smith Orleans Collection two orderly books belonging to Coffee Diana Smith encourages research in the that are known to exist. The first, cov- Mr. and Mrs. Fred M. Smith Hazel and Daniel Smith Williams Research Center ering the period between December Judith M. Smith at 410 Chartres Street from Linda T. Smith 1812 and April 1813 (MSS 557, folder Louis D. Smith 9:30 a.m. to 4:30 p.m. 32), and the latter, covering the period Olga and James Smoak Tuesday through Saturday Martha Smyser between September 1814 and March Mr. and Mrs. Charles A. Snyder, bookplate (except holidays). Cataloged materials 1815 (MSS 557, folder 126), are also in in memory of Guy C. Lyman Jr. available to researchers include books, David Speights the holdings of The Collection. Coffee’s Mark Speltz manuscripts, paintings, prints, draw- civilian appointment as Surveyor of the S. Frederick Starr ings, maps, photographs, and artifacts Sally Stassi Public Lands in the State of Alabama, Arthur P. Steinmetz about the history and culture of New which President Andrew Jackson signed Temple Stephens Orleans, Louisiana, and the Gulf South. Micki Beth Stiller in 1831 (MSS 557, folder 158), is also Dr. and Mrs. Richard L. Strub Each year The Collection adds thou- housed at The Collection. T. Casey Stuart sands of items to its holdings. Though Ann D. Sturgill A Tennessee militia officer, John Dr. Agustin J. Suarez only selected gifts are mentioned here, Coffee (1772–1833) was once Andrew Joan Suter the importance of all gifts cannot be Anne Reily Sutherlin Jackson’s business partner and remained Symphony Book Fair overstated. Prospective donors are invited his lifelong friend. Coffee was also Taste Buds Management LLC to contact the authors of the acquisitions Diane D. Thompson related by marriage to Jackson’s wife. Sheryl and Howard Thompson columns. Orderly books are rich sources of Mrs. Thomas J. Tomeny Jr. Lawrence J. Torres Jr. information, providing detailed records Mr. and Mrs. Michael J. Toso Jr. of military campaigns. Coffee’s orderly Timothy Trapolin Dr. and Mrs. Samuel A. Trufant Manuscripts book is a bound manuscript volume John G. Turner and Jerry G. Fischer For the fourth quarter of 2009 (October– containing general orders, court-martial Michael Valentino Barbara Vernon December), there were 47 acquisitions notes, and battle reports from the Creek Mary L. Villars totaling approximately 20 linear feet. War, in which Jackson commanded the Mr. and Mrs. St. Denis J. Villere John E. Wade II The Historic New Orleans Collec- West Tennessee Militia. The entries, Jason P. Waguespack tion recently received the exceptionally beginning on October 20, 1813, at Mr. and Mrs. John E. Walker Mary-Miles Coe Higgins Walker complete archive of a local soldier who Fort Gibson, Alabama, and ending on Susan and Michael Wallace served as a captain in the Washington May 5, 1814, at Fort Deposit, Ala- William J. Warren Roy Leige Watts Artillery during the First World War. A bama, include specific orders for Cof- Betty Weil Merlyn Weilbaecher gift from former U.S. Ambassador to fee at the Battle of Tallushatchee and Gretchen Gribble Weilburg Finland John Giffen Weinmann, the general orders for troop activity leading Ambassador John Giffen Weinmann Lisa Werling papers of his father, Rudolph Wein- up to the war’s final and decisive battle Geraldine West mann (1893–1976), include a diary, at Horseshoe Bend. (William C. Cook Mr. and Mrs. H. Hunter White Jr. Dr. C. Mark Whitehead Jr. and photographs, maps, and other materials. War of 1812 in the South Collection, Katherine C. Whitehead The diary, the highlight of the MSS 557, folder 365, 2009.0303) Arnold P. Wilking Jr. Mr. and Mrs. Robert John Axtell Williams papers, vividly recalls Weinmann’s war- Blanc A. Parker has donated Cecile Trudy Williamson time experiences in France from the Airey Parker’s scrapbook, which includes Dan Wilson Mr. and Mrs. John Wilson autumn of 1917 to 1918. The collec- correspondence, newspaper clippings, Joan and Glenn Winter tion also includes topographical maps photographs, and ephemera primarily Dr. Ronald Wismar Dr. and Mrs. William J. Woessner that Weinmann used while in France, relating to Cecile’s husband John Mil- WWNO a French poster promoting the con- liken Parker Jr. (1863–1939). Rob Wyman Lea Young servation of munitions, Weinmann’s John Parker was a friend and Mr. and Mrs. Robert E. Young service record, and his dress uniform. admirer of Theodore Roosevelt. After Anne and Lou Zenowich and Family in honor of Andrée Keil Moss and Family (2009.0298) an unsuccessful 1916 gubernatorial Victor D. Ziminsky Jr. Another recent acquisition sheds race, when Parker ran as Roosevelt’s light on an earlier conflict in U.S. his- Progressive Party nominee, Parker was tory—the Creek War (1813–14). The elected governor of Louisiana in 1920. acquisition includes an orderly book Covering a period from approxi-

The Historic New Orleans Collection Quarterly 15 mately 1902 to 1914, the scrapbook Library includes documentation of Parker’s work with the New Orleans Cotton For the fourth quarter of 2009 (October– Exchange, as well as clippings related to December), there were 46 acquisitions, the famous bear hunt in which Parker totaling 85 items. and Mississippi governor Andrew H. The Botanical Register, later Longino accompanied President Roos- Edwards’s Botanical Register, was estab- evelt on an adventure that led to the lished by natural history illustrator naming of the Teddy Bear. These clip- Sydenham Edwards (1768–1819) in pings complement the Lemuel P. Con- 1815 to promote an understanding of nor Jr. correspondence collection, which ornamental flowers cultivated in British contains a letter in which Connor gardens. The periodical, published in informed Roosevelt of a proposed bear London, continued through 33 volumes hunt that Parker was organizing (MSS until 1847. It provided advice on the Cover of menu from the Roosevelt Hotel’s 3). The scrapbook also includes a signed best treatments for the cultivation and Blue Room, June 1960 letter written by Roosevelt to Parker on propagation of a variety of ornamen- White House stationery and ephemera tal plants and shrubs, including exotic The Roosevelt Hotel’s Blue related to John and Cecile Parker’s 1904 species found in tropical areas. Each Room—a nightclub that featured live visit to the White House. (2009.0320) issue featured beautiful, hand-colored entertainment, internationally known —Mary Lou Eichhorn engravings, which were often removed headliners, fine cuisine, and cocktails— and framed. Although very popular in was a favorite destination for a special its day, it is rare to find intact issues of evening on the town in the mid-20th The Botanical Register. A Forstall fam- century. The library received a copy ily descendant recently gave the library of the Blue Room’s “supper menu,” three bound volumes, 13 (1827), 16 dated June 1960 in print on the back (1830), and 18 (1832). Each book con- and autographed by Peter Toma, a tains its illustrations and bears a book- musician at the hotel. The selections

Editor plate reading, “To Eugéne Edmond J. included filet mignon for $4.90, crab- Mary Mees Garsaud Forstall, Souvenir of his Grand Mother, meat au gratin for $2.75, Creole gumbo Director of Publications Jessica Dorman Clara Forstall,” a Louisianian who for 80 cents a bowl, and baked Alaska Head of Photography undoubtedly found the information in for two for $2.25. The “drink list” fea- Keely Merritt Design these issues useful in pursuing her own tures a “refreshing mint julep—double Theresa Norris gardening interests. (2009.0369.1–.3) strength” for $1.60 and includes such

The Historic New Orleans Collection Quarterly is St. Simeon’s Select School, once mixed drink specialties as the “Scar- published by The Historic New Orleans Collection, located at 1321 Annunciation Street in let O’Hara,” “Blue Room Fizz,” and which is operated by the Kemper and Leila Wil- liams Foundation, a Louisiana nonprofit corpora- the former Saulet plantation house, was “Roosevelt Cooler.” Cocktail selections tion. Housed in a complex of historic buildings in originally established in 1860 by the Sis- are listed separately from mixed drinks the French Quarter, facilities are open to the public, Tuesday through Saturday, from 9:30 a.m. until ters of Charity of St. Vincent de Paul as a and include the “Pink Lady,” “Gibson,” 4:30 p.m., and Sunday, from 10:30 a.m. until 4:30 finishing school for young ladies. Some- and “Rob Roy.” (2009.0309.4) p.m. Tours of the History Galleries, Williams Resi- dence, and Courtyards and Architecture are avail- time prior to the school year of 1900– The library thanks Marcie Antony able for a nominal fee. 1901, it was opened to both sexes. After Courtney for assisting in the acquisi- Board of Directors 1922, St. Simeon’s served briefly as a pri- tion of a copy of a special edition of Mrs. William K. Christovich, Chairman Charles A. Snyder, President vate mental hospital, and then as Mercy Evangeline, A Tale of Acadie by Henry John Kallenborn Fred M. Smith Hospital until 1959. In that year the new Wadsworth Longfellow in memory of John E. Walker, Immediate Past President Drew Jardine E. Alexandra Stafford Mercy Hospital was completed and the her late father, New Orleans artist and Saulet plantation house was demolished gallery owner Marc Antony. The folio- Priscilla Lawrence, Executive Director to make way for a supermarket. A copy sized (17¾ x 14") volume was published The Historic New Orleans Collection of the school’s catalogue for 1900–1901 by Cassell, Petter, Galpin and Company 533 Royal Street New Orleans, Louisiana 70130 was donated by an individual whose in 1882, the year of Longfellow’s death, (504) 523-4662 father attended the school and is pictured in a limited edition of 1000 numbered [email protected] • www.hnoc.org ISSN 0886-2109 within as a member of the St. Simeon’s copies, The Collection’s being 487. It © 2010 The Historic New Orleans Collection Cadets. (2009.0309.1) was printed on heavy stock and bound

16 Volume XXVII, Number 2 — Spring 2010 in gilt-stamped, off-white and green frequently traveled between New York trapped in the “shelter of last resort” as the cloth. English painter and illustrator and New Orleans. The ship sank on its city flooded. But the structure received Frank Dicksee (1853–1928) of the way from New Orleans to Galveston, more positive attention this fall and win- Royal Academy was commissioned by Texas, in 1846. (2009.0322.5–.11) ter as the home of the Super Bowl cham- the publishers to provide the numerous Edwin Hoffa has donated a series pion Saints. (2009.0282.1–.54) engravings that accompany Longfellow’s of 54 photographs documenting the Gunmaker Jean Baptiste Revol poem. (2009.0321) construction of the Louisiana Super- worked in New Orleans from 1842 until —Pamela D. Arceneaux dome. The dome was designed in 1967 his death in 1886. He won a gold medal by the New Orleans firm of Nathaniel at the 1867 Second Grand Fair of the Curatorial Curtis and Arthur Q. Davis soon after Mechanics’ and Agricultural Fair Asso- New Orleans was awarded the National ciation of Louisiana, and his work was For the fourth quarter of 2009 (October– Football League team the New Orleans reported to compare favorably with the December), there were 36 acquisitions Saints. Hoffa’s photographs, from 1972 best of European workmanship. Like totaling more than 240 items. and 1973, record the midway point in many 19th-century artisans, Revol lived Margie Laws Luke recently donated the building’s construction, which began above his shop, which was located at several pieces of silver made in New in August 1971 and was completed in 400 Chartres Street in the building that Orleans in the 19th century. A ram’s- August 1975. The largest fixed dome is currently being restored by The His- head ladle and an open salt dish are structure in the world, the Superdome toric New Orleans Collection. Recently, the work of German-born silversmith is an impressive landmark on the New The Collection acquired a breech-load- Adolphe Himmel. Himmel first appears Orleans skyline. The popular stadium has ing, .45 caliber rifle, or long gun, with in the New Orleans city directory of served as the site of a half-dozen Super an octagonal barrel made by Revol in 1852. The 1853 directory places him Bowls with a seventh slated for 2013. 1853. The stock is made of tiger-stripe with the New Orleans firm of Hyde and It garnered widespread international maple. A cleaning rod accompanies the Goodrich, which was located on Canal attention following Hurricane Katrina rifle. (2009.0347) Street on the lakeside corner of Royal when tens of thousands of evacuees were —John Magill Street. Himmel went on to work for Hyde and Goodrich’s successor, A. B. Griswold, until his death in 1877. The Kemper and Leila Williams Prize donation also includes a butter knife by Boston-born Edward Tyler, who was he Historic New Orleans Collection and the Louisiana active as a New Orleans retailer between THistorical Association (LHA) awarded the 2009 Kem- 1838 and his death in 1879. In addition per and Leila Williams Prize in Louisiana History to Race, to silver, Tyler sold jewelry at his shop, Sex, and Social Order in Early New Orleans by Jennifer M. which for many years was located on Spear, published by the Johns Hopkins University Press. A Canal Street near the river side of Royal panel of three historians evaluated nine entries for Louisiana Street. A fish server, marked “Melville content, scholarly merit, and overall historical significance. and Company,” is the work of silver The prize was announced at the LHA’s annual meeting in manufacturer and retailer David Mel- Lafayette, Louisiana, on March 26, 2010. ville, who was active in New Orleans Dr. Spear is assistant professor of history at Simon Fraser University in between 1849 and 1858. During that Burnaby, British Columbia. The panel commended her work as “an excellent period he operated from several different overview of Louisiana’s three-tier caste system, with creative new interpreta- locations, most notably Canal Street on tions.” the riverside corner of Chartres Street. Since 1974, the Williams Prize has been awarded annually by LHA and The Ms. Luke’s donation also includes Collection. Recognizing excellence in research and writing on Louisiana’s history, a coin-silver fork and spoon retrieved the award is named for Kemper and Leila Williams, the founders of The Collec- from the wreck of the steam packet New tion. York and a selection of personal papers A list of past Williams Prize recipients and application information for next and photographs. Though the fork and year’s prize are available at www.hnoc.org/programs/williams-prize.php. Works spoon, which are engraved with the ship’s published in the 2010 calendar year exploring any aspect of Louisiana history and name, were neither made nor retailed in culture, or placing Louisiana subjects in a regional, national, or international con- New Orleans they are connected to the text, are eligible. The deadline for 2010 Williams Prize entries is January 15, 2011. city by the route of the New York, which

The Historic New Orleans Collection Quarterly 17 Staff In Memoriam

Publications M. Theresa LeFevre Daniel Hammer, “The German The Historic New Orleans Col- taught at L. W. Higgins High Creole,” Louisiana Cultural Vistas lection mourns the loss of execu- School, McDonogh 28 Junior (Spring 2010). tive assistant M. Theresa LeFevre, High, and Samuel J. Green who passed away on Sunday, Middle School in New Orleans. In the Community March 28, 2010. Theresa joined She received her certification in Pamela D. Arceneaux presented the staff of The Collection in library science from the Univer- a variety of New Orleans–themed 1993 as manuscripts registrar. Her sity of New Orleans and became lectures to passengers aboard Royal diligence and attention to detail made librarian at Samuel J. Green Middle Caribbean’s Voyager of the Seas. her an asset to the registration depart- School. In 1991 Theresa retired from ment, which she oversaw for three years the Orleans Parish public schools and Volunteers as a senior registrar along with Warren J. became a member of the Louisiana Jessica Armstrong, Caroline Prechter, Woods. In 2003 Theresa became execu- Retired Teacher’s Association. She con- Loraine Rathman, and Rosalie Torres, tive assistant, and during her tenure tinued studies at the University of New docent department. Karen Snyder, in that position, she served for a time Orleans in history, archives, and records curatorial department. as assistant secretary to the board of management and worked on a conser- directors. vation project for the Archdiocese of Changes Theresa grew up in Shreveport, New Orleans before joining The His- Fran Flurry, docent, retired from The Louisiana. After receiving her bach- toric New Orleans Collection. Collection in May. elor’s degree with teacher certification Theresa will be greatly missed by in social sciences and English from all the staff and board members of The Northwestern State College, Theresa Historic New Orleans Collection. Accolades n January the French Quarter Busi- of five recipients of the Dawlin’ Heart award recognizes an individual who has ness Association (FQBA) presented Award, which is presented annually by shown dedication in his or her museum Iits Ambassador Award to The His- the French Quarter Business Women’s work. An employee with The Collection toric New Orleans Collection. Accord- Network (FQBWN). The Dawlin’ Heart for 11 years, Mary Lou assists scholars ing to Lee Zurik, master of ceremonies honors community leaders who improve and visitors in navigating the institu- at the association’s annual gala, the the quality of life and/or business for res- tion’s vast holdings. Her intimate knowl- FQBA created the award “to recognize idents and businesses in the Vieux Carré edge of The Collection’s holdings on an unsung hero, a friend of the French and the city of New Orleans. In addition New Orleans in the 19th century, urban Quarter, an individual or organization to Lawrence, awards were presented to development, historical demographics of that makes the French Quarter a spe- Drew Brees, New Orleans Saints; Tyra the city (including religious and ethnic cial place by their hard work, spirit, and Wilson Brown, French Quarter Busi- histories), and genealogy is irreplaceable. positive energy.” The Collection was ness Women’s Network; Yvonne Blount In addition to working with researchers, commended for bringing educational Davis, Antoine’s Restaurant; and Gary Mary Lou collaborates with her col- programming and entertainment to Solomon Jr., Solomon Management leagues to develop exhibitions. both visitors and locals and for improv- Group/Le Petit Théâtre du Vieux Carré. The Louisiana Association of Muse- ing the façade of the community through FQBWN is a nonprofit organization ums also presented the 2010 Museum the development of its properties. The that was founded in 1989. of the Year Award to The Historic New FQBA is an organization of local busi- *** Orleans Collection for its exceptional ness owners dedicated to enhancing the In April Mary Lou Eichhorn, refer- commitment to the community and success of business in the Vieux Carré ence associate at the Williams Research excellence in programming. Founded in while protecting it as a historic district. Center, received the 2010 Louisiana 1979, LAM is a nonprofit organization *** Museum Professional Award from the dedicated to helping the state’s museums In February Priscilla Lawrence was one Louisiana Association of Museums. The better serve their communities.

18 Volume XXVII, Number 2 — Spring 2010 Educational Outreach Update “Slow Blink” Project Kicks Off with Oral History Workshop

On January 14 the education depart- Wetlands Vanish.” The workshop was Jennifer Abraham, director, T. Harry ment presented an oral history work- conducted by Mark Cave, manuscripts Williams Center for Oral History, Loui- shop to 10 teachers from the schools curator and oral historian, The Historic siana State University. participating in the newly launched oral New Orleans Collection; Don Davis, Teachers were trained in the gath- history and wetlands-awareness project, director emeritus of oral history, Louisi- ering and processing of oral histories— “In the Slow Blink of an Alligator’s Eye: ana Sea Grant Program, Louisiana State skills that they will then teach to their University; Dr. Toby Daspit, depart- students, who will conduct interviews ment of curriculum and instruction, with family members and community the University of Louisiana at Lafayette; elders in order to learn about the role of Dr. Shana Walton, assistant professor of the wetlands in their own lives. English, Nicholls State University; and —Sue Laudeman

Participants in the oral history workshop at The Collection. Front row, left to right: Alma Robichaux, Susan Bergeron, Sue Laudeman, Don Davis; second row, left to right: Noemi Ghazala, Tracie Prevost, Shawn Boquet, Angie Plaisance, Mary Reynaud, Gayle Westly, Mary Verdin, Colin Meneghini, Andre Williams, Jennifer Abraham, Mark Cave; third row, left to right: Allyn Rodriguez, Annie Lirette, Melanie Fabre, Louise Dykes, Eddy Parker, Rochelle Walker, Paul Johnson, Jeff Guidry, Dr. Shana Walton, Dr. Toby Daspit. The Shop New in The Shop are messenger bags by handbag creator Debora Crichton. The Shop has been selling her popular Art Bags for some time. Like the Art Bags, the messenger bags feature reproductions of vintage and contemporary images licensed from museums and artists. They sell for $80 and may be ordered by calling (504) 598-7147.

The Shop is offering a reproduction of an 1852 bird’s-eye view of the city, New Orleans from St. Patrick’s Church (1954.3). When this view of New Orleans was produced, the city was the largest in the South and among the largest in the United States. The scene looks downriver with the Central Business District in the foreground and the French Quarter, Marigny, and Bywater in the distance. The prints, measuring 24 x 18", sell for $25 and are available at www.hnoc.org or may be ordered by calling (504) 598-7147. 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 on the Internet at www.hnoc.org ADDRESS SERVICE REQUESTED

At The Collection

On January 29–30, The Collection hosted the 15th annual Williams Research Center Symposium, Between Colony and State. Five speakers examined the turbulent period between the Louisiana Purchase and Louisiana’s entrance as a state into the Union.

Symposium speakers Bob Paquette, William C. Davis, Christina Vella, Mark Fernandez (moderator), Jennifer Spear, and Lo Faber Susan and Shelby Russ Jr. Hank Bart and Wendy Lodrig

The Historic New Orleans Collection was again the site for the master classes, scholars’ conference, and Friday evening reception of the Tennessee Williams/ New Orleans Literary Festival. In its 24th year, the festival presented a star- studded lineup of speakers, including journalist and author Cokie Roberts (pictured top with Priscilla Lawrence), actress Lois Smith (pictured middle), On February 3, The Collection and the Louisiana Philharmonic Orchestra presented their fourth annual and actor Michael Puzzo and author/ collaborative concert, “Made in Louisiana,” in St. Louis Cathedral. Exploring the state’s influence on both national playwright John Patrick Shanley and international concert stages, the concert featured Klauspeter Seibel, principal guest conductor; Daniel Belcher, (pictured bottom with Peggy Scott baritone; Paul Goussot, organ (pictured right); Katherine Rohrer, mezzo-soprano (pictured left); and Wendell Laborde) Pierce as the narrator (pictured center).