EXHIBITION OPENS AUGUST 26

LES IMAGES D'EPINAL EN LOUISIANE OVERTURE TO THEATRICAL PRINTS

PELLERIN & C'E, IMP.-EDIT . LES IMAGES D'EPINAL

lfl!AGERIE PELLERIN

3'AR lots !CJ bone o· uu:rnor

IMAGERIE D'EPINAL, N' 1558 NOUVEAU TIIEATRE PO RTATIF A RA!NURES Ct,1ACERIE PELLERIN DECOR. VENITIEN

Above, a drawing to show the assembly ofa miniature theater, popular parlor entertainment in 19th-century New Orleans. Pages 1-3, illustratio ns, backdrops, and char­ acters for model theaters, printed by Pellerin & Compagnie in Epinal, France. This page, above left, Opera Co mique and, below, view of Venice; facing page, above, village fair, and, below, puppet figures. These and other prints, on loan ftom Mrs. Zita V. Hosmer, will be on view in the Williams Gallery beginning August 26.

irsc with woodcuts and lacer with century. Noc far from Epinal, the famous The name of Jean-Charles Pellerin, lithographs, the printers of the manufacturer of arc papers, Arches, was one of Epinal's best-known pri nters, town of Epinal, in the Vosges one of many Vosges paper companies sup­ remains in the trade to chis day. Pellerin district of eastern France, have plying Epinal's card makers, dominotiers & Compagnie, with origi ns in the lace created colorful popular images - on (wood engravers), sheet-makers, and 1700s, continues co produce its famous playing cards, clock faces, parlor games, printers of stories, as they were designated pictures, although now the focus is and ornamental paper - since the 17th in the regulations of their guild. on reprinting antique images. Opening

2 IMAGEAIE 0'£.PINAL, N° 1664 fond de fele mine

century, with the third generation of Pellerins guiding the company, Epinal images could be found in all the corners of the globe. The catalogue of 1904, sent to clients in the Americas, Europe, and Africa, lists thousands of diverse subjects - portraits, battles, natural history, games, soldiers, as well as theater models designed to be cut out and assembled. Les Images d'Epinal en Louisiane: Overture to Theatrical Prints combines a colorful selection of 19th-century Pellerin images, selected from the private collection of Mrs. Zita V. Hosmer, together with related theatrical artifacts of New Orleans. The Epinal works on view in the Williams Gallery include backdrops, scenery, props, and charac­ ters for miniature home-theatrical per­ formances; historical and dramatic fig­ ures; and even a printed board game. Parlor theaters, resembling in size old­ fashioned shadow boxes, were a popular fixture in 19th-century homes, bringing entertainment to families, delight to children, and echoes of Le monde franr;ais to the provinces, whether in France or in Louisiana. Long before television and video games were insinuated into daily life, Pellerin of Epinal created pic­ tures - true expressions of popular art - to stimulate the imagination. A sur­ viving miniature theater from a French­ speaking New Orleans household is also on display. The exhibition Les Images d'Epinal en Louisiane comes to the Collection August 26, an exhibition of these French of the country. Fran<;:ois Blaudez writes through the initiative and generosity of pictures - Les Images d'Epinal- will be in Epinal et L'imagerie populaire that le Consular General de France. Support on view in the Williams Gallery until "everyone in France knew the name of also comes from le Conseil General des September 27. Pellerin": "There was hardly a dwelling," Vosges, with additional support from la By the mid-19th century, Pellerin he writes, "where one of these images Chambre de Commerce Franco­ prints from Epinal were carrying French was not displayed on the wall in a rustic Americaine, ]'Alliance Fran<;:aise, and popular culture to the farthest provinces frame." Toward the end of the 19th l'Imagerie d'Epinal.

3 n 1994, the Historic New Orleans French immigration was distributed Collection and the Centre des in the 1880s. La Societe Louisianaise Archives Diplomatiques de Nantes pour le Developpement de !'Agriculture began a cooperative project to et de l'Elevage was published with funds microfilm the archive of the from the state legislature, describing Consulat de France a la Nouvelle a plan that included some 1,500 Orleans for the years 1804-1918. The acres in Calcasieu Parish reserved Centre des Archives Diplomatiques de for Frenchmen. Nantes, a dependency of the French The archive also documents French Foreign Ministry, is charged with the benevolent and cultural efforts in preservation and accessibility of archives 19th-century Louisiana. The activities returned to France from their embassies range from the societes de bienfaisance and consulates and from the French cul­ (charitable) to educational and cultural tural services, institutes, and centers in endeavors. An undated, printed price foreign countries. Also included are the sheet from the infirmary established by records of French representatives to inter­ the Societe Franc;:aise (founded in 1843) national organizations as well as records gives an idea of the services rendered and from the Protectorates and Mandates of specific illnesses that were treated. Tunisia, Morocco, Syria, and Lebanon. The extensive flooding of the Mississippi Among its holdings is the archive of the River valley in 1882 caused the consul French Consulate in New Orleans (631 to offer assistance to Frenchmen bundles of documents). who suffered heavy losses. The records of the French consulate The French government's par­ in New Orleans are important not only FROM tic i patio n in the World's for the study of Louisiana history but for Industrial and Cotton the information they contain relating to NANTES TO Centennial Exposition Alabama, Arkansas, Florida, Georgia, of 1884 is thoroughly Kentucky, Mississippi, Missouri; and documented. Texas, as well. One of the principal NEW ORLEANS: activities of the consuls was the develop­ ment of commercial activity between RECORDS OF France and the consul's area of jurisdic­ tion. As a result, the records contain THE FRENCH valuable information on economic activ­ ity ranging from sugarcane and cotton production to detailed reports on navi­ CONSULATE gation canals. After the Civil War, the Chambre Syndicale Consultative du Commerce Franc;:aise was founded To date, bundles 1-261 (1816- in New Orleans to further French Frederic-Antoine, baron Lallemand 1918) have been microfilmed and economic interests. Listings of French (1774-1839), who was active during the are available to researchers. When merchants, prepared by consuls such French Revolution. Taken prisoner by microfilming is finished in 1998, this as Paul d'Abzac, are an invaluable tool the English and condemned to death, he complete and unbroken series of con­ for researchers. D'Abzac's 1884 listing escaped to the United States. Upon sular reports and files will provide schol­ provides information on some 215 arrival, he saw the possibility to establish ars in the humanities and social sciences French merchants with their addresses a colony with 350 former officers and with previously untapped primary and professions. soldiers in Texas, called Champ d'asile. source material. The consuls also maintained meticu­ After the Civil War, French immi­ -Alfred E. Lemmon lous records on immigration. The fate of gration to Louisiana resumed. Between refugees from the French Revolution January 1867 and May 1868 there were and the slave uprisings in Haiti are richly 2,592 French citizens who moved to documented in these records. For exam­ Louisiana. Consular records further ple, information is available about indicate that a brochure to encourage

4 From The

DIRECTOR

n May 9, 1803, a Oyoung Kentuckian wrote to his brother about his fears for trade down the Ohio River. If Napoleon reclaimed Louisiana, that might "accelerate that dis­ union between the Western and Eastern States which their discordant interests must give rise to." But he had also heard rumors that the king of Spain was com­ manding his officials in New Orleans "to restore to the United States those rights to which she is entitled." In 1904, a historian published the PAMELA TYLER WINS 1996 WILLIAMS PRIZE FOR young man's letter in the William and BOOK ON WOMEN AND POLITICS IN NEW ORLEANS Mary Quarterly. For nearly a century, his expression of the concerns that prompted istorian Pamela Tyler was awarded and Leila Williams Prize, named for the Louisiana Purchase has been available H the General L. Kemper Williams both founders of the Historic New to any researcher with time, inclination, Prize at the annual meeting of the Orleans Collection. No manuscript prize and access to an older library with com­ Louisiana Historical Association on was awarded for 1996, and the former plete runs of all the major journals and Friday, March 14, in Bossier Ciry. Her competition for unpublished scholarship cumulative indexes (if they exist). prize-winning book, Silk Stockings and has been discontinued. A few weeks ago, however, I sent a Ballot Boxes: Women and Politics in New Now comprising a cash award of computerized query about Louisiana in Orleans, 1920-1963 was published by $1,500 and an engraved plaque, the 1803 to "JSTOR." Within seconds, half the University of Georgia Press in 1996. Kemper and Leila Williams Prize honors a dozen citations appeared on my screen. Dr. Tyler is assistant professor of history the best published work on Louisiana I chose and read several things and then at North Carolina State University. history. The jury is made up of three printed out the Kentuckians letter. It all Silk Stockings and Ballot Boxes is a scholars appointed by the Louisiana rook less than ten minutes. narrative history about politically active Historical Association. Administration is For this marvel, gratitude is owed to women in New Orleans from 1920, provided by the Historic New Orleans research institutions and publishers (sup­ when the Nineteenth Amendment gave Collection and funding by the Kemper ported by the Andrew W. Mellon women the right to vote, to feminist and Leila Williams Foundation. Foundation) who joined together to movements of the 1960s. Its chapters The Kemper and Leila Williams solve a common problem. JSTOR (an describe activities of Hilda Phelps Prize Committee invites nominations of acronym for "journal storage") started an Hammond, Martha Gilmore Robinson, eligible works published during calendar electronic database of digitized "replica­ Rosa Freeman Keller, and other year 1997. Works about all aspects of tions" of scholarly journals in the fields of Louisianians against the backdrop of Louisiana history and culture are eligi­ economics and history. As it expands its national events such as the Depression, ble, as are works that treat the history of scope, JSTOR now promises wonderful World War II, the Cold War, and the Louisiana in a regional, national, or access to information; reduced library Civil Rights movement. international context. Submissions must costs for storing and retrieving journals; Since 1974, the Historic New be made in triplicate: The final deadline and a solution to problems such as miss­ Orleans Collection and the Louisiana for all 1997 Williams Prize submissions ing volumes, mutilated pages, and the Historical Association have offered the is January 15, 1998. chemical deterioration of paper. Williams Prizes to encourage excellence Nomination forms and instructions The Collection recently joined the in research and writing about Louisiana are available from the Kemper and Leila JSTOR consortium. Soon, our staff and history. Silk Stockings and Ballot Boxes Williams Prize Committee, Historic researchers can add this remarkable is the twenty-first published work New Orleans Collection, 533 Royal resource to the array of riches with to be honored, and prizes were also Street, New Orleans, Louisiana 70130- which we encourage the study and awarded to 16 unpublished manuscripts 2179, and at the Collection's web site: appreciation of history. between 1974 and 1990. The 1997 www.hnoc.org. -Jon Kukla competition introduces the Kemper -]on Kukla

5 father, a stevedore by day and a barber when her recording of "Move on Up a by night, had preached there on Little Higher" became a bestseller, even Sundays, and it was here that Mahalia outside of gospel circles. "GOD'S Jackson first sang religious music. In 1954, jazz historian William In describing this part of her life, Russell was also living in Chicago. she said, "I gave in to one temptation Russell, a trusted friend and advisor of when I was a child .. .I disobeyed my par­ Mahalia Jackson's, frequently visited her ents and listened to the blues, the sorrow home and rarely missed her rehearsals or MUSIC" songs of my people. I heard the rich, performances. He meticulously recorded throbbing voices of Ma Rainey, Ethel each day's events in a number of journals Waters, and Bessie that focus on "Mahalia Sings," her 1954- Smith .... The inspiration of 5 5 national radio show and the Chicago the church songs, the haunt­ television program of the same name. ing quality of the work songs, Two days recorded in Russell's journal and the wail of the blues all provide an illuminating portrait of the got mixed up together in my singer. On October 14, 1954, Russell brain." She was quick to went to her house in the evening. As point out, however, in a later usual, she had several guests, including a interview: "Just remember, all minister from out of town. Mahalia I'm saying about my listening Jackson was disturbed by an unsigned to Bessie and imitating her note "from some colored person who when I was a little girl, just knew her" who was offended by the way remember this was before I Mahalia talked on her program and said, was saved." " 'for God's sake and the sake of the race, Although she wanted to cut out the dis & dat. Be natural, & as be a nurse, Mahalia had to [intelligent] as you are.' " She was upset put those dreams aside when enough to have Russell call Studs Terkel, she went to work at age 13 to the show's writer. Russell wrote that help out her family. Three Mahalia "wondered if they should have years later she left New her talk at all, if they'd cut out some of Orleans to live with relatives the talking there would be room for in Chicago, where she another song, or perhaps all they need worked a number of jobs and have her talk would be to read some (92-48-L) joined a church choir. Bible verses or something." Mahalia Jackson's singing soon Russell noted that Thomas A. began to attract crowds. She received Dorsey had sent a package of songs to offers to sing for other churches, but Mahalia at home - this was where she declined the nightclub invitations - rehearsed the music for her show. mong the manuscripts, books, despite her early love of the blues, Dorsey, a gospel songwriter and Ma sound recordings, artifacts, and Mahalia made a vow not to sing them. Rainey's former accompanist, was music photographs in the William In 19 51 she told the magazine director of a large Chicago church. He Russell Jazz Collection of more Bronzeville, "When a man sings the had made Mahalia a soloist when she than 16,000 items are two blues and his last note is sung, he is still joined his church just after arriving in scrapbooks that Russell devoted lonely, still unhappy. There is hope in the city. Or, as Mahalia told Studs Terkel to the great singer Mahalia Jackson. On God's music. There is despair in the in 1954, the last page of one album are pho­ blues ... .I still need the hope and happi­ I joined the Greater Salem Baptist tographs Russell took in 1954 on a visit ness God's music brings." Church. One Sunday at choir to New Orleans. Russell, accompanied She saved her money, studied to be a rehearsal I sang so loud it drowned by Miss Jackson, drove to the house on beautician (which she considered the out the other 49 voices. I got Water Street where Mahalia was born in next best thing to nursing), and opened that from David of the Bible. 1911 and to the church her family a beauty shop in Chicago. She first Remember what he said? Singjoyful­ attended, the Mt. Moriah Baptist recorded in 1934 but was not well ly unto the Lord with a loud voice. Church on Millaudon Street. Her known to the general public until 1945 I took his advice.

6 Russell wrote that Mahalia would sing her own variations of Dorsey's music. Her accompanist Mildred Falls worried that the show's music director would once again get angry when Mahalia did not perform the music as written. Russell went on to say that the visiting minister fell asleep on the sofa and "s nored so loud we could hardly hear to rehearse." Russell's entry for the next day notes that Studs Terkel's script for the show suggested that Mahalia should sing a cappella, with each musician joining in as they were introduced. Mahalia found this difficult, explaining that "she needed some support to have any beat. ... Studs said well it was a good idea on the typewriter." Recalling the previous evening's rehearsal, Russell wrote: "Her 1st take M. had worried about pronouncing the 'sure,' sometimes starting out with 'S ho' and then 'correcting' it to sure. Bur for her retake, alone, she sang out fully, with more spirit & never once the 'Sure'." A look at the clippings in the Russell Collection points to why Mahalia was so concerned about her image. In 1954 she was both a racial role model and a trailblazer. Profiles in African American publications stressed the h ard work that went into her achievement and rarely failed to mention her success as a businesswoman and real estate investor. Images in the main­ stream press trace her rise from an impoverished background to become one of the most respected women in America. By 1959, clippings from the same sources show Mahalia Jackson singing at civil rights rallies. - Nancy Ruck

So urces : "Born to Sing," Newsweek, Feb. 22, 1954; "Gospel Queen Mahalia," LIFE, Nov. 29, 1954; Mahalia Jackson, "God Spared Me co Sing," as cold co Alfred Duckett, Sepe. 11 , 1954; Mahalia Jackson, "Why I Turned Down a Million Dollars," Bronzeville 1 (Sept. 1951 ); "Mahali a Jackson," Current Biography 18 (0cc. 1957); William Russell, TV Log (journal) , Oct. 14-15, 19 54, William Russell Collection; Scuds Terkel, "Mahalia Jackson," Chicago, Nov. 1954; "Two Cities Pay Tribute co Mahalia Jackson," Ebony, Mahalia Jackson, Life Magazine, November 29, 1954 (92-48-L) Apr. 1972.

7 JOHN LAWRENCE

he man working the grandes lignes ticket counter at the Gare de Lyon in Paris peered quizzically at me through the thick glass win- dow and asked me to clarify whether I wanted to purchase a ticket for Aries orAles. I knew then that my French accent was going to need some work. After I wrote my destination (Aries) on a l scrap of paper, all proceeded smoothly. J Thus began a journey that could be described as a busman's holiday, the opportunity of a lifetime, and a means of gaining perspective on one's career. A month in Provence, with headquarters in Above, top, Cloister St. Trophime; beww, the ancient city of Aries, was all of those Roman Arena. Photographs by john H. things, and more. Lawrence, Arles, 1997

8 i j

Alain Desvergnes, the founder and until his recent retirement, director of the Ecole Nationale de la Photographie (ENP), invited me, accompanied by my wife Priscilla, THNOC's Collections Manager, to be "in residence" at the school for the month of February. The invitation was initiated through the efforts of Debbie de la Houssaye in the office of the Consulate General of France in New Orleans and William Lake Douglas, Arts Council of New Orleans. The ENP operates under the auspices of the French Ministry of Culture and has an enrollment of 75 students spread out over a three-year program. The school seeks not only to

Above, top, Rue des Arenes, corner ofrue Aristide Briand, near the Ecole Nationale de la Photographie; below, architectural fragments, Theatre Antique. Photographs by John H. Lawrence, Arles, 1991

9 provide a sound technical background in simultaneous appreciation of past and From Venice, a day trip to Verona photography, but also to train its gradu­ present. In Marseilles, La Vieille Charite combined business with pleasure. The ates for a variety of careers that embrace (a 17th-century alms house) was mag­ Stamperia Valdonega, a small, family­ the medium (curators, critics, picture nificently restored inside and out but operated printing company was the pri­ editors, photojournalists, printing contained exhibits of modern art and mary destination in Verona. With the trades). My work as curator, and as pho­ photography, as well as those of vineyards of the Valpolicella Valley as a tographer and critic, allowed me to talk Egyptian, sub-Saharan African, and setting, Martino Mardersteig, the son of to the students about the various aspects Oceanic cultures. The abbey at the firm's founder, graciously and care­ of the field. Montmajour, about an hour-and-a-half fully explained the procedures that I delivered the formal lecture, with walk from Aries, is a stabilized ruin dat­ would be used to reproduce the slides, within a week of my arrival in ing from the 10th century. A beautiful Collection's photographs by Clarence Aries. Topics included highlights of the gallery in one of the monastery's halls John Laughlin for Haunter ofRuins: The photography collections at the Historic featured an exhibition about the early Photography ofClarence John Laughlin, to New Orleans Collection, portfolios of sail-powered trading vessels of the be published this fall by Bulfinch Press. my own photographs, and a discussion Mediterranean. The explanatory text Shortly after returning to the Collection of the curator's responsibility both to was printed on large banners, resem­ in March, I received proofs from shape a collection of photographs and to bling the sails of these ships. I made Verona, and it was clear that the finished make those works available to the pub­ dozens of sketches of exhibition tech­ product would be consistent with the care lic. My command of the French lan­ niques, label presentation, and layouts at and expertise I witnessed during the visit. guage was sufficient to describe the these museums and many others, to On the return to Venice by train we made slides, but for the more abstract thoughts, the simultaneous translation provided by Alain Desvergnes and Anne O'Conner, a third-year student at the ENP, was indispensable. The role of the past was a constant thought in travels in and around Aries. While THNOC's late 18th-century Merieult House is old by New Orleans standards, in Aries one's sense of what is truly old seems challenged at every turn: a first-century Roman arena, the 11th­ century cathedral of St. Trophime, and the Alyscamps, a Roman and early Christian burial ground. The Theatre Antique, an amphitheater built in the first century before Christ, is used every summer for nighttime outdoor slide John Lawrence and Alain Desvergnes in Les Bawc. Photograph by Priscilla Lawrence projections associated with the Rencontres Internationales de la consider when planning our own pro­ a brief stop in Padua and visited the Arena Photographie, perhaps the preeminent grams at the Collection. Chapel and its decorative program of photographic event in the world. The third week of the visit was a frescoes by Giotto. But with the old there is often an period of vacances scolaires, and all activi­ During the final week in Aries we element of the new. The French, it ty at the ENP shut down. This provided revisited familiar places and made new seems, are very adept at putting a mod­ the perfect opportunity to travel to discoveries as well. It is a situation not ern spin on things antique. A typical Venice. New Orleans's relationship with unlike exploring the holdings of the example in Aries is the Institut de its waterways is something I've always Collection. One revisits favorite paint­ Recherche sur la Provence Antique taken for granted and been at ease with, ings, documents, books, and pho­ (IRPA), a modern museum housing arti­ but this was an entirely new experience. tographs that, regardless of their famil­ facts and displays of early civilizations in The durability of Venice as a physical iarity- or perhaps because of it - have the region. The elegant and high-tech and political entity seems an impossibility the power to provoke our imaginations setting together with the stone, metal, given its watery situation. All of that and to inspire new questions. wood, and glass objects gave one a water and no levees to keep it out! - John H Lawrence

10 WILLIAMS RESEARCH CENTER ACQUISITIONS

THE HISTORIC NEW ORLEANS COLLECTION encourages research in the Williams Research Center at 410 Chartres Street from 10:00 a.m. to 4:30 p.m. Tuesday through Saturday (except holidays). Cataloged materials available to researchers include books, manuscripts, paintings, prints, drawings, maps, pho­ tographs, and artifacts about the history and culture of New Orleans, Louisiana, and the Gulf South. Each year the Collection adds thousands of items to its Lewisburg, Louisiana by Charles Wellington Boyle (19971.4) holdings by donation or purchase. Only a few recent acquisitions can be noted here. The performing arts, a vital part of the New Orleans cultural scene, are reflected in two recent donations. CURATORIAL

Ellsworth Woodward and William Woodward, whose names were synony­ mous with art in New Orleans during the early years of this century, are repre­ sented in the Collection's holdings by works in various media, including oils, watercolors, and drawings. Items that relate to their wives have now been added to these holdings. Mrs. Mims Gage, a former student Color guard on Dedication Day, Edward Douglass White Memorial (1997.19.30) of Ellsworth Woodward's, has donated an embroidered lace collar that once • Two landscapes were purchased • Mr. and Mrs. Charles Fenner belonged to Woodward's wife, Mary through the Boyd Cruise Fund. Gay have donated an oil painting Belle Johnson Woodward. The collar Lewisburg, Louisiana, painted by Charles by Clementine Hunter entitled was a wedding gift from Mrs. Woodward Wellington Boyle during Christmas Pecan Gatherers. to her neighbor Jane Pharr when she 1899, shows the rural area near Boyle's • During the 19th century, fire markers married Mims Gage. The Woodwards birthplace. Boyle was the first curator of were affixed to buildings to indicate that and the Pharrs were neighbors on Pine the Delgado Museum of Art and acted as the structure was covered against fire loss Street. The date of the collar falls director from 1922 until his death in by the insurance company whose name between 1890 and 1915. 1925. He was a founder of the Southern it bore as well as notice that the premi­ A turn-of-the-century watercolor, Art Union and the Artists' Association of ums had been paid. The Collection has Path Through the Palm Trees, is by Louise New Orleans. acquired a brass fire marker, circa 1860, Amelia Giesen Woodward, wife of Allegory of Sugar Cane by John identified with the name of the Mutual William Woodward. Louise Woodward Genin (1830-1895), also a Cruise Fund Fire Insurance Association. studied at the Newcomb Art School purchase, is part of a series of works • Edward Douglass White, Jr. (1845- in 1892 and was active as an artist from the World's Industrial and Cotton 1921), a native of Thibodaux, was until 1912. Centennial Exposition in 1884-85. appointed Chief Justice of the United

11 States Supreme Court by President scrapbook con­ William Howard Taft in 1910. A group taining broad­ of 36 snapshots from the 1950s shows sides, programs, White's house on Bayou Lafourche, now tickets, invita­ preserved as the Edward Douglass White tions, correspon­ Memorial, both prior to and after dence, and news­ restoration. Included are views of the pa per clippings dedication ceremonies marking the documents the opening of the memorial. club's activities. • Small neighborhood movie cheaters Remnants of were once as common as today's multi­ Deiler's scrap­ screen complexes attached to nearly books include every shopping mall. The movie houses additional infor­ often had fanciful names: Abalon, mation on the Coliseum, and Ashton, ro name a few. Quartet Club These three and other cheaters are part and its travels. of a recent gift of color photographs by Professor Deiler Program, New Orleanser Quarrett-Club (97-5-L) Michael J. Rouillier. Mr. Rouillier's published many books and articles. donation also includes a photograph Several typescripts of articles on a range LIBRARY of the battleship U.S.S. Iowa on a visit of topics are included in the acquisition. In the mid-to-late 1940s, Mack M. to New Orleans and a portrait of a • Records of Lehman, Stern and Co., McKinstry was the proprietor of Mack's streetcar motorman. Ltd., have been donated by Mr. and Mrs. Magic Bar and Crystal Room occupying - Judith H Bonner andJohn H Lawrence Maurice M. Stern. Mr. Stern is the grand­ the first floor of the building at the son of one of the founders of the cotton downtown river corner of Canal Street MANUSCRIPTS brokerage company which was incorpo­ and Exchange Alley. Mack's menu, a The collection of Dr. Karl J. R. Arndt rated in August 1892. A minute book recent donation from Bill Dagg, lists containing the J. Hanno Deiler Papers with records of board and stockholder such fare as soft-shell crab with potato and Deutsche Gesellschaft Records, meetings from November 3, 1892, to salad for 35 cents, filer mignon with 1852-1919, has recently been acquired. December 6, 1920, provides information French fries for 75 cents, and a dry mar­ Dr. Arndt, once head of the Department about the development of the company. tini for 15 cents. The local Regal Brewery of German at Clark University in Also included is a salary ledger for the was a major supplier to this restaurant, Massachusetts, assembled materials years 1898-1924. Several stocks, bonds, and the brewery name appears on the related to German Americans from and papers document economic activity menu cover with the slogan, "Drink which the Deiler records were derived. and investment interests. Where It Flows Freely. " A large glass of Professor Deiler (1849-1909) was born • Edward Livingston (1764-1836) Regal "draught" beer cost a nickel. in Upper Bavaria and immigrated to moved to New Orleans from New York • Sheet music for the 1936 hit song New Orleans to serve as principal of the in 1804 after successful careers in law "Moonlight and Shadows" features German School in 1872. Deiler's and politics. He served as Andrew Dorothy Lamour, a native New appointment as professor of German at Jackson's aide-de-camp and advisor dur­ Orleanian, in a sultry cover photograph the University of Louisiana (later Tulane ing the Battle of New Orleans. One year with leading man Ray Milland, the stars University) in 1879 marked the begin­ after his election to the Louisiana legisla­ of Paramount Picture's The jungle ning of a lengthy academic career and ture in 1820, Livingston began a quest Princess. A highlight of the Paramount personal quest to promote an apprecia­ for penal reform. While Livingston was release was "Moonlight and Shadows" by tion of German heritage. He was unsuccessful in revising penal law, he songwriters Leo Robin and Frederick involved with various organizations gained international recognition for his Hollander, who had composed music for dedicated to the documentation of efforts. The Collection has recently Marlene Dietrich. German life in Louisiana and to acquired a letter written by William C. • Edward Livingston's penal code report the assistance of German immigrants. Gibbs, Newport, to Tristan Burgess launched perhaps the most influential Success with the Quartet Club which on August 27, 1821, on behalf of project of enlightened criminal-law Deiler founded in 1882 is evidenced by Livingston who sought information use­ reform during the 19th century. the choice of New Orleans to host the ful in the compilation of a revised code. Although not enacted into law, both 26th national Saengerfest of the North - M Theresa LeFevre his Louisiana code and his code for the American Singers' Union in 1890. A federal government served to inspire and

12 ORACION FUNEBRE DONORS·: O~L P.XCF.Lli!\ TISll\10 s·i,;f-OR D.ALEXANDRO DEO-REILLY, jANUARY-rviARCH,1997 CONDE DE 0-REILLY, TENlENTE General , &c. &c. &c. LA DIXO Pamela D. Arceneaux Title pages: left, foneral 1,' t:T:.\T o•: 1, ,\ LOUJSIANE, l EN LAS BXEQUIAS, QUE EL AMOR 1 American Historical Press y ~::!dc:kbvr:~io:u tnil:11u~~~ ~li- oration for Alexandro Sefior S;mriago di! Cadiz , eu el di& • d~ Ju1110 de 1794 O'Reilly (97-149-RL) Arts Council of New Orleans EL P.M.J\fANUEL GIL, DE LOS CLE­ and, right, Edward rlgos Mt!lfJrts, E"-Pra-uf11dal, y Ex4-­ Mrs. Alfred M. Barnes, Jr. #:inador Sin(J{/11/ Jet Anobtspad1 Livingston's penal code P,,.,-F.1)()1::\'lll}L\\"\:otGSTO,'\', de SwiJ/a. Jan White Brantley report (97-203-RL) Mrs. John W Calhoun

... - .. ~·~>ll'fU>"f•CU. ... a.,., l'o. ... ;;;;: Dr. Gordon W Callender, Jr. . CON LI CENCI A: Mark Cave L~ CADIZ, POil D. M.A NUHL lU:C!."iEZ CAllJt~O, •C•lle Ancba. Mrs. William K. Christovich Community Communications, Inc. Oliver J. Counce direct the efforts of later generations of cial of the Archbishopric of Seville, was Bill Dagg reformers in America and Europe. published in Cadiz. Once the property Coralie Guarino Davis Livingston's view of the death penalty of historian Jack D. L. Holmes, this vol­ Richard L. DeGruy was unusual in his day: "great crimes are, ume is considered a rare source book on Edward J. Domangue for the most part, committed by men, O'Reilly's life. Carol Ann Roberts Dumond whose long habits of guilt have familiar­ • The 1932-33 bulletin and catalogue Evangeline Downs ized them to the idea of death; or to for New Orleans University and Gilbert Evangeline Maid whom strong passions, or natural Academy was acquired. The schools Evangeline Motor Co., Inc. courage have rendered it, in some mea­ were founded for African Americans and Evangeline Specialties sure, indifferent; and ... the cowardly poi­ sponsored by the Methodist churc h. Fr. John Finn soner or assassin always thinks he has Gilbert Academy began as an orphanage H. Waller Fowler, Jr. taken such precautions as will prevent for children whose fathers had been Mrs. Mims Gage any risk of discovery. The fear of death, killed in the Battle of Port Hudson. The Mr. and Mrs. Charles Fenner Gay therefore, will rarely deter from the com­ academy's early supervisors managed to Bruce Gifford mission of great crimes." His report on a expand the orphanage into a school with Gardiner Green, Jr. penal code to the General Assembly of several l arge donations from Philip J. Greene Sallie S. Gregg the State of Louisiana was published in Connecticut philanthropist W. L. Mrs. Eben Hardie New Orleans in 1822 by local printer Gilbert. In an effort to survive the LeBron Hardie Benjamin Levy in French and English Depression, New O rleans University Arthur Hardy editions of 1,000 copies each. The merged with Straight College, an African Kathleen Lanier Long Hosford French edition, more scarce than the American college sponsored by the Dr. Jack Hudson English one, was recently acquired; few Congregational Church, to form Dillard Mrs. Robert Joseph Killeen copies of either edition have survived. University in 1935. Gilbert Academy Jack Kinabrew • Alexandro O 'Reilly, the Spanish mili­ continued until 1949 when it was sold Dr. Jon Kukla tary leader who was born in Ireland, to the Catholic Church for the site of De Peggy Scott Laborde earned the name "B loody" O 'Rei lly in La Salle High School. John H. Lawrence Louisiana. He commanded the troops -Pamela D. Arceneaux Dr. Alfred E. Lemmon sent to stop the revolt of French Douglas MacCash colonists after the territory came under Elizabeth Shaw Nalty Spanish rule. While serving as governor AWARD Joy P. Oalmann of Spanish Louisiana from 1769 to he Louisiana Association of Museums Philadelphia Museum of Art 1770, he instituted many reforms Trecognized the Kemper and Leila Joseph M. Rault, Jr. including the establishment of the cabil­ Williams Foundation, governing board of Michael J. Rouillier do, a governing body. He held a variety the Historic New Orleans Collection, John W Sims of military and administrative appoint­ with its Special Support Award for a State Library of Louisiana ments in Europe and the colonies and Corporation or Foundation on June 5, Mr. and Mrs. Maurice Stern resigned his final post as governor of 1997. The award is given for outstanding Randall Brent Vidrine Cadiz in 1789. When he died in 1794, a contributions to the programs, goals, and WYES-TV funeral oration by Manuel Gil, an offi- policies of Louisiana museums. Xavier University Library

13 STAFF Doug MacCash, head preparator since 1991 , has accepted a posi­ tion as curator of visual arcs at the Contemporary Arts Center. Mr. IN THE COMMUNITY MacCash, an artist, has exhibited frequently in New O rleans. He was chosen by the Arts Council of New Orleans to create canvas banners that hang in front of nine local fire stations, and his col­ lector's edition si lkscreen print was che focus of a benefit for the Children's Bureau of New O rleans. He has taught at Tulane University, Loyola University, and Delgado Community College. He is arc editor of Loyola's New Orleans Review, a contributor to Art News, art critic for Offbeat, and author of several articles for the Quarterly, including ''American Waste" about poet Everette Maddox.

Jan White Brantley was elected vice-president of the New Orleans/Gulf Ann Middleton, who was a member of the MEETINGS South chapter of the American Society of library staff, left the Collection in May. New Dr. Jon Kukla and Theresa Lefevre, Media Photographers. Several of her pho­ staff members are Dustin Booksh, photogra­ American Association of Museums, Aclanta. tographs of New Orleans buildings were phy; Marlon Clark, maintenance; Lisa included in the ''Archidek" cards distributed co participants at the annual meeting of the THE HISTORIC American Institute of Architects held chis ffi year in New Orleans. t~-:t NEW ORLEANS The April issue of Art in America fea­ i~) COLLECTION tured the installation Music from Nancy at 1~ the Contemporary Arc Center created by QUARTERLY Steve Sweet in collaboration with Jesse Brown and Lori Zastrow, receptionists, Editors: Poimboeuf and Steve Cunningham. John H. Williams Research Center; Jose Zorrilla, Patricia Brady Lawrence exhibited photographs at the Louise C. Hoffman American lnscicuce of Architects meeting Head of Photography: and served as technical consulcant for a pho­ Jan White Brantley tography exhibition at the New Orleans The Historic New Orleans Collection Public Library. Dr. Florence M. Jumonville Quarterly is published by the Historic New former head librarian, has received the Orleans Collection, which is operated Fannie Simon Award for publications in the by the Kemper and Lei la Williams field of special librarianship from the Special Foundation, a Louisiana nonprofit corpora­ Librarians Association. Lisa Brown, Marlon Clark L 'Zas ' Ort trow tion. Housed in a complex of historic build­ Scaff members spoke co the following ings in the French Quarter, facilities are open organizations: Theresa Lefevre, NAIM to the public, Tuesday through Saturday, Conference of the Archdiocese of New from 10:00 a.m. until 4:30 p.m. Tours of the Orleans; Dr. George Reinecke, Louisiana history galleries and the residence are avail­ Folklore Society and Tour Guides able for a nominal fee. Association of New Orleans; Judith H. Jessica Green Bonner, Tennessee Williams Festival, Tulane Board of Directors: University Educational Conference, systems. Nicole Biguenet is an intern from Mrs. William K. Christovich, President G. Henry Pierson, Jr. Philanthropic Education Organization, and Brandeis University; Jessica Green is a John E. Walker Fine Arcs Club; John Lawrence, Louisiana volunteer at the Williams Research Center. Fred M. Smith Library Association; Mark Cave, Rayne Suzanne T. Mestayer Memorial Methodist Church Prime-Timers; ARTICLES PUBLISHED Jon Kukla, Director John Magill, Le Perie Salon. Mr. Magill was Judith Bonner, David Dibble, Kate The Historic New Orleans Collection also interviewed about the current exhibition Holliday, and John Lawrence, New Orleans 533 Royal Street by the Hammond, Indiana Times and about Art Review; John Magill, New Orleans New O rleans, Louisiana 70130 haunted houses for the Fox television network. Magazine and Preservation in Print. (504) 523-4662 [email protected] The paperback edition of First Ladies: www.hnoc.org AT THE C OLLECTION Their Lives and Legacy (Garland Publishing) ISSN 0886-2109 © 1997 has recently been issued. Included in Kate Holliday, systems coordinator, The Historic New Orleans Collection is moving to Austin, Texas, where she will the book is "Martha Washington" by pursue a doctorate at the University of Texas. Patricia Brady. Additional photography by: Dustin Booksh and Cornelius Regan

14 LOAN FROM HARVARD

SUMMER INSTITUTE FOR TEACHERS AT THE HISTORIC NEW ORLEANS COLLECTION Teachers participating in "New Orleans Through its Sources," a summer institute ennis Mamon, administrative offi­ sponsored by the Collection and Loyola University New Orleans, are pictured above Dcer at the Houghton Library, on the first day of the program. The institute, which runs July 7 through August 1, is Harvard University, and Mark Cave, funded by the Louisiana Endowment for the Humanities with additional support exhibition curator, examine the original from the First National Bank of Commerce. "New Orleans Through its Sources" is manuscript of Evangeline by Henry designed for teachers and curriculum supervisors, grades 6-12, and introduces partici­ Wadsworth Longfellow. The manu­ pants to the history and culture of New Orleans. Director Jon Kukla (back row) and script is on loan from Harvard through Dr. Mark Fernandez, Loyola (first row, dark jacket), were organizers of the institute. September for the exhibition at the Williams Research Center, A Celestial Brightness: 150 Years ofEvangeline, com­ THE SHOP memorating the sesquicentennial of Theater has long held a significant place in New Orleans history. The Collection's late­ Longfellow's poem. summer exhibition, Les Images d'Epinal: Overture to Theatrical Prints, opening August 26, testifies to the vogue of parlor theaters in the home. Another aspect of the city's the­ atrical tradition is told in the Collection's publication Signor Faranta's Iron Theatre, the VOLUNTEERS story of a popular 19th-century New Orleans variety theater. Faranta's entertainment - including jugglers, contortionists, trained animals, sword NEEDED swallowers, and hypnotists - made his variety show the best attended ten-cent theater in he docent staff at the Collection is New Orleans. Tseeking volunteers to help with guided tours. After orientation, volun­ PLEASE SEND Signor Faranta's Iron Theatre by Boyd Cruise and Merle Harton, 148 pages, teers will be able to give tours of the illustrated with period photographs (ISBN 0-917860-13-6), 1982. Louisiana history galleries and/ or the __ copies@ $14.95 $_ _ Williams Residence. Volunteer docents Shipping and handling $ 2.50 also greet the public in the Williams 9% tax, Orleans Parish $ __ Gallery where changing exhibitions are 4% tax, other LA residents $ __ on view. The current exhibition, A TOTAL AMOUNT DUE $ __ Mystical Bal Masque, runs through PLEASE PRINT August 16. Volunteers at the Collection Name enjoy pleasant working conditions, paid parking, association with a premiere Address research institution, and a chance to meet visitors from around the world. The City/State/Zip Collection asks for a commitment of six DMasterCard DVISA DCheck or money order months. Come share your knowledge of New Orleans history with out-of-town Acct. Number Exp. date visitors and natives alike. If interested, please call Pat Cromiller at 523-4662. Signature

15 FALL PUBLICATION: HAUNTER OF RUINS

vocative photographs by master photographer Clarence John Laughlin (1905-1985) and eight Eessays inspired by his work will appear in the fall under the tide Haunter of Ruins: The Photography of Clarence John Laughlin, a publication of the Historic New Orleans Collection and Bulfinch Press, a division of Little, Brown and Company. Essays in the book are by Jon Kukla, John H. Lawrence, Andrei Codrescu, Ellen Gilchrist, Shirley Ann Grau, Jonathan Williams, Albert Belisle Davis, and John Wood. The Collection is the definitive repository for Laughlin's photographs and archive. In 1985, the year Laughlin died, the Collection paid tribute to the photographer in the exhibition Other Ghosts Along the Mississippi. In conjunction with the publication of Haunter of Ruins, the Laughlin exhibition of the same name opens October 7, 1997.

Non Profit ffi THE HISTORIC Organ ization U.S. Postage 1t.a.:::i NEW ORLEANS PAID New Orlea ns, LA t~r, COLLECTION Permit No. 863 1~ QUARTERLY

KEMPER AN D LEILA WILLIAMS FOUNDATION T HE HISTORIC NEW O RLEANS COLLECTION Museum • Research Center • Publisher 533 Royal Street New O rleans, Louisiana 701 30 (504) 523-4662 Visit the Collecti on on the Internet at www.hnoc.org ADDRESS CORRECTION REQUESTED