THE HISTORIC MIDDAY GALLERY TOURS OF THE EXHIBITION COLLECTION Every Wednesday at 12:30 QUARTERLY February 3 - April 28, 1993 I Volume XI, Number 1 Wiwer/993 5.B Royal Street TuE LONG WEEKEND

THE ARTS AND THE VIEUX CARRE BETWEEN THEWORLD WARS, 1918-1941

I

St. Ann Street at Jackson Square, May 21, 1928, detail (1959.23) THE LONG WEEKEND

EVOKING THOUGHTS OF Quarter's ramshackle appearance FLAPPERS, prohibition, a placed its future in jeopardy. "lost generation" dancing Some people felt the old neigh­ the Charleston, and a borhood should be demol­ ,-....~--.:r.l,,i>\'. booming stock market ished and replaced with new that would lead to the buildings. 'fl' Depression, the Roaring In 191 7, the St. Louis ' '20s remain a legendary Hotel and the Tile Roof time, Yet alongside this Building on Chartres and -~"'=='-"·==-~- romantic image, the Ursuline streets, then thought to years following World War I brought far­ be the oldest building in the city, reaching economic and social changes. were demolished. Another blow Although change came to New occurred when the French Opera House, Orleans as well, the Vieux Carre - the the center of culture in the French Quarter - with its old world area for half a century, charm, moved at a slower pace. Writers was destroye d by fire on and artists had long favored the area and, December 4, 1919. beginning in the early '20s, the artistic colony, many of whom were of interna­ tional stature, created a little Greenwich Village on the Mississippi Rive r. The first installment of a two-part exhibition entitled The Long Weekend: The Arts and the Vieux Carre Between Above, the World Wars, 1918-1941 opened Vieux Carre rooftops, after January 19 at the Historic New Orleans William Spratling, Collection. Part one of the exhibition 1924 (1970.22.1.6); concerns the 1920s, while the second right, SherwoodAnderson by installment, opening in May, will cover Joseph Woodson ''Pops " Whitesell the 1930s. (1978.122.7) Noteworthy writers in New Orleans in the 1920s included historian Grace King and newspaper advice columnist Dorothy Dix. Lyle Saxon began as a news reporter in 1918 and later emerged as a major chronicler of New Orleans and life through several popular books. , a leading American writer, arrived in the French Quarter in 1922 and declared the place "the most cultured" in the nation. New Orleans, he felt, should be "the winter home of every American artisc" By the early 20th century, the Vieux Carre itself had fallen on hard times. There were still some well-maintained houses and a population of hard-working people, but many blocks of the area had fallen into decay - ravaged by time, climate, and changing social patterns, Though an exotic charm remained, the 500 block ofD umaine Street by Charles Franck (1979.325.5221)

2 THE ARTS AND THE VIEUX CARRE BETWEEN THE WORLD WARS

The Quarter was on the Throughout the decade, it became more verge of being lost forever, but a fashionable to visit and live there. In the movement toward restoring it wake of this growing respectability came was gathering momentum. new gathering places often geared to the William Ratcliffe Irby restored arts and theater community - the Patio Louis Andrews Fischer, 1925, by numerous buildings and Royale, the Green Shutter Tearoom, the Joseph Woodson "Pops" Whitesell. Courtesy Henri Schindler financed the restoration of St. Arts and Crafts Club, Le Petit Theatre du Louis Cathedral. In 1925, Vieux Carre, and Le Petit Salon. Elizabeth Werlein, another lead­ The November 1925 issue of New ing force in preservation, helped Orleans Life reported "an unmistakable establish the Vieux Carre smell of paint throughout the Quarter. Association, the precursor of the Fallen down buildings are being restored, present Vieux Carre new shops are opening, smart folk are Commission. Later, Mary and finding it convenient to live so near town Jacob Morrison would take the and once again the old Quarter is taking lead in watching over the on the respectable air it used to have in Quarter's buildings. ante-bellum days." The article also cau­ The burgeoning movement tioned that there was "a general hue and to save the area accelerated sig­ cry among the artists not to emblazon nificantly during the 1920s. and ruin the fine old architecture with Artists and photographers fever­ paint and furbelows." ishly tried to capture the neigh­ The growing popularity of the borhood in photographs, prints, Quarter prompted people to visit the and paintings before it was too area, which, in turn, was accompanied by late. Architect Richard Koch an increase in municipal improvements. produced many fine pho­ tographs of venerable French Quarter buildings. World­ famous photographer Arnold Genthe also photographed the area, publishing his work in Impressions of Old New Orleans (1926). Genthe hoped his pho­ tographs would "strengthen the feeling of responsibility towards preservation of a most precious architectural heritage, which ought to be a matter of pride to every American." These works supported a growing group of t ,_ Preservationists who t~r/Pi were fighting to save the ambience of the Vieux Carre. In the May 1925 issue of / New Orleans Life, a writer observed that Artist and teacher Lyle Saxon "the growth of the art Charles Bein from from Sherwood Anderson colony has been the domi­ Sherwood Anderson and Other Famous Creoles nant factor for greater clean­ and Other Famous (73-320-L) liness" in the French Quarter. Creoles (73-320-L)

3 THE LONG WEEKEND

Along with the smart shops and tea­ rooms, there were improvements in street lighting, paving, and drainage. ALL THE ARTFUL Even so, the old quarter was still threatened. The city's growth and its AND CRAFTY ONES possible intrusion into the historic neigh­ borhood were disturbing to those who drew inspiration from the seasoned ong before other preservationists gave for an artists' colony centered on Jackson buildings and narrow streets. Looking Lheed to the Vieux Carre, William Square. Artists, spurred into action as a with disdain at the expanding business Woodward, director of the School of consequence of architectural destruction district and its rising skyline, critics feared Architecture at Tulane University, began in the French Quarter, began to organize that the vitality and charm of New systematically to record buildings in themselves as a community by gathering Orleans - the qualities that distinguished the old quarter, particularly those threat­ informally in Kinsey's apartment, it from most other American cities - were ened by destruction. Woodward and his then establishing their first clubhouse being destroyed. brother Ellsworth, director of the at 619 St. Peter Street in what is now In October 1929, the stock market Newcomb Art School, influenced their called the Jackson House. Calling them­ crashed and the country began the faculty and students in the same direc­ selves the "Artists' Guild," they moved inevitable slide into the Depression. The tion. Two students established the Tulane for three months to the Old Mortgage arts community that had thrived during Architectural Review as a forum for issues Building at 332 Royal Street, then the decade continued to grow in the like preservation. for another three months met as the Arts 1930s and to influence the character of From their curbside seat in 1919, and Crafts Club of New Orleans at the Vieux Carre. But the roaring '20s Alberta Kinsey and Lyle Saxon watched 633 Royal Street. In June 1921 they were over. the French Opera House burn, decried its moved to the Old Brulatour Court at - john Magill loss, and echoed the Woodwards' proposal 520 Royal Street, which proprietor

St. Ann Street at Jackson Square, May 21, 1928 (1959.23)

4 THE ARTS AND THE VIEUX CARRE BETWEEN THE WORLD WARS

Costumes were de rigueur, and in 1927, an overflow crowd of 600 guests at the Old Mortgage Building danced until 3:00 a.m. Prior to this effort at self-sufficiency, artists, writers, and musicians had met from the mid-1870s until 1916 in the parlors of William E. Seebold, who also provided them with exhibition space at his frame and fine arts shop. Not until the formation of the Am and Crafts Club in the Vieux Carre, however, did the intelli­ gentsia capture the attention of a wider public. Artists, writers, musicians, archi­ tects, the Newcomb-Tulane community, and art patrons joined together in a spirit of camaraderie and mutual support. Multi-talented people, most of whom were associated with the Arts and Crafts Club, made contributions in various artistic fields. Olive Ellzey Leonhardt illustrated the Double Dealer, artist Caroline Mrs. Clifford Lyons, nee Olive Boullemet, 1921, by Charles Bein (1977.312). Olive Lyons was an Durieux submitted poetry, and social associate editor for the Double Dealer. Gift ofMr. and Mrs. john P. Labouisse activist and author Natalie Vivian Scott served as the associate editor. William Ratcliffe Irby generously renovat­ Quarter." The Bal des Artistes, an annual Contributors to the journal during its five­ ed to accommodate an exhibition gallery, event, drew both artists and writers. year existence included such international classrooms, and a sales room. Artist-teachers of the 1920s included Kinsey, Caroline Wogan Durieux, Harry Nolan, Achille Peretti, Louis Andrews (Fischer), Ronald Hargrave, Fannie Hampton Craig, Clarence Millet, William Philip Spratling, Albert Rieker, Arthur Feitel, Daniel Webster Whitney, Knute Heldner, and Charles Bein. The Club also served as a focal point for the literati of the city, including those associated with the local publication, the Double Dealer, one of four important little journals of the period. It was this group whom William Spratling affectionately caricatured in Sherwood Anderson and Other Famous Creoles - a book inscribed: "To All the Artful and Crafty on es of the French 520 Royal Street, ca. 1922, by Charles Franck. Courtyard ofthe Arts and Crafts Club (1979.325.2156)

5 THE LONG WEEKEND figures as Ezra Pound, Edna St. Vincent Millay, John Dos Passos, Hart Crane, Carl Van Vechten, Malcolm Cowley, ------,...,.----. Allan Tate, Howard Mumford Jones, John Crowe Ransom, Robert Penn Warren, Thornton Wilder, Robert Graves, , and J. Hamilton Basso. Editor John McClure invited the young Ernest Hemingway, who had been recommended to him as one of the promising expatriate writers working in Paris, to submit his work. The Double Dealer staff did not understand Hemingway's enigmatic "The Divine Gesture," but they published it, just as they published other experimental work such as that of co-editor Basil Thompson. The literary accomplishments of the 1920s, including those of the Double Dealer, seemed to outshine the efforts of the local artists groups. The Club, how­ ever, grew in significance, flourished in the 1930s, and lasted until mid-century. The genesis of today's flourishing art climate in New Orleans occurred 70 years ago with the birth of the Arts and Crafts Club. The European-inspired architecture, the exotic atmosphere, and the affordable working and living space of the Vieux

TIIE DOUDLi·DEALER "NJfl'IONWL MWCJa.llE rROMTNE SOUTN

., Huieli-. VERSE .. John McClure"' Gov. Nicholls and Royal streets, French Quarter, 1928, unknown photographer (1987.25), detail Ct•ceHaaaNI CanJdi•r Ek. Carre drew talented people seeking artis­ community to produce a burst of energy tic inspiration. This fertile soil for the arts that, ultimately, has come to be called a and letters provided a rich resource for rena.tssance. the collective creative talents of the art - Judith H Bonner

6 FROM THE LAWYERS' TITLE DONATION ENRICHES HOLDINGS

DIRECTOR n June 1991, Lawyers' Title I IInsurance Corporation donat­ ~is year the ed an immense collection of l Collection wel­ land survey papers to the comes the national Collection. The donation lecture series Jefferson included land surveys by D. E. at 250: The Legacy of Seghers and Sons; the firm of an American Genius. Grandjean, Bell and Stewart; Thomas Jefferson's the Pilie family; and Guy J. birth in 17 43 occurred on April 2 accord­ Seghers, Sr., as well as other ing to the Julian calendar but on April 13 material generated or acquired according to the Gregorian calendar Britain by the firm. On view in the adopted when he was nine. The change small gallery outside the direc­ upset some people - protesters in 18th­ tor's office are items selected century satiric prints carry signs that read, from the thousands of docu- C.lmnl,111 .Sbwl- "Give Us Back Our Eleven Days!" - ments, maps, and other research -----, r though perhaps in this convivial ciry two materials in the donation. I birthdaces merely justify more parties. Throughout its history, I cherish my autographed copy of vol­ Lawyers' Ti tie Insurance ~ ume six of the late Dumas Malone's Corporation, the successor firm C_"_) Pulitzer-prize winning Jefferson and His of Louisiana Abstract Company, Time, but I am more grateful for his wis­ augmented the records it com­ dom on that occasion. In the 33 years piled in land-title examinations between the first and sixth volumes, I won­ prior to the issuance of title dered whether Malone wished he could insurance with additional maps Survey by Jules A. d'Hemecourt (91-16-L) alter anything he had written. He replied and records acquired from families of that in 1948 he described Jefferson as a deceased surveyors. The Lawyers' Tide "liberal" but the meaning of the term had papers, compiled during nearly a century The Collection officially thanked the changed. For some, he regretted, liberal had of effort, will serve researchers interested officers of Lawyers' Title and acknowl­ become "the L-word," while for others con­ in land tenure, architecture, and social edged their significant donation of land servative had become an epithet. and economic history. survey papers at a reception in October. Then he echoed the healing cadence of Jefferson's inaugural address after the defeat of Federalist incumbent John Adams in the JEFFERSON AT 250 angry election of 1800. If we care about history, culture, and language, Malone said, THE LEGACY OF AN AMERICAN GENIUS "we are all liberals and all conservatives." SPRING SERIES Liberal in the old sense of refined rather than servile or mechanical, in the spirit of January 21 February4 those arts that enlighten us. Conservative A Day at Monticello Thomas Jefferson, Gardener about the best of our heritage, about tradi­ Daniel P. Jordan Peter Hatch tion, wisdom, and continuities that link March 11 March 23 generations past and to come. Recipes and Rights: Jefferson, the Enlightenment, We are all federalists and all republicans, Jefferson's Manuscript and the conservative andliberal, just as the old adver­ Collecting and the Origins Virginia Statute saries Adams and Jefferson also became inti­ of American Independence for Religious Freedom mate correspondents. Coincidence stunned Jon Kukla Merrill D. Peterson America when they both died on the nation's All lectures begin at 7:00 p.m. at 533 Royal Street birthday in 1826, but John Adams's dying Free and Open to the Public words were, "Thomas Jefferson still survives." -]on Kukla

7 A HANDFUL OF HISTORY: The Qµarterly Celebrates Ten lears

TIIE HISTORJC I ' . ~Jle~~ ~~, - _. - __<3UARTE~! ,

* * * O VER H ERE! * * * NEW ORLEANS 0 URl1''G \Xk:iRLD WAR 11

Collection's rich Ralston Crawford's photographs about resources has amply New Orleans jazz. Yo El Rey: Spanish filled the quarterly over Louisiana in the Time ofJean Franrois the years. Merieult, in last summer's issue, and The Some of the Long Weekend: The Arts and the Vieux columns established 10 Carre Between the World Wars, 1918- years ago are still going 1941 (see story, page 1) round out a strong - the library decade of exhibitions that explore and and the manu­ interpret Louisiana's history. scripts and curatori­ Newsletter covers reflect the al divisions have Collection's major acquisitions over faithfully kept readers the years - the papers of 19th­ informed about new acquisi- century New Orleans financier tions. Florence Jumonville, Pamela James Robb (winter 1986) riple portraits of Boyd Cruise, the Arceneaux, Alfred Lemmon, Joseph or Les Cenelles (fall 1987), TCollection's first director, look out Scott, Priscilla O'Reilly Lawrence, John a rare book of African­ from the premier issue of the Newsletter, Lawrence, and Judith Bonner write about American poetry January 1983. Editors Patricia Brady and the incoming donations and purchases printed in New Orleans in Gail Peterkin, though tempted by clever­ that are the life blood of the Collection. 1845. The Vinache map of ness, had chosen a straightforward name, Materials that touch on a Louisiana New Orleans in 1803 (summer the Historic New Orleans Collection theme - a vast quantity of books, maps, 1987) prompted curator John Mahe to Newsletter. Stanton Frazar, director at the prints, photographs, and family say "you think there's nothing else out time, welcomed the project with infec­ papers - are the stock-in­ there - then someone opens an attic tious enthusiasm and stated in his first trade of these columnists. and there's a treasure." In column that "one of my reasons for insti­ The ebb and flow of 1989, the winter issue, tuting this newsletter is to make the exhibitions chronicled in a demure Clarisse research facilities at the Collection better the Newsletter begin, Claiborne Grima gazes known and to emphasize our commitment in the first issue, out of an old photograph to excellence in scholarship and research." with Bound to that accompanies the arti­ Privately, Mr, Frazar asked the editors if Please, a display cle about her bequest to there would be enough news to bring out of rare books THNOC. Jean Baptiste Le the publication on a regular basis. about Loui­ Moyne, sieur de Bienville, There was no need to worry. A blend siana (win­ solemnly captured in an 18th­ of articles about history, changing exhibi­ ter 1983), fol­ century portrait, invites the reader tions, staff members, major acquisitions, lowed in the spring of of the summer 1990 issue to dis­ and visual material drawn from the that year by Music in the Street, cover the provenance of this impor-

8 l

tam painting of the city's founder. the plague of What does the Collection publish? 1914 ("as the rat Read about the journals, reference works, population began to and guides in the Newsletter. "Two diminish, rat catchers had a Centuries of Art" (headline, fall 1985) harder time trapping their mini­ announced the coming publication of the mum daily quota," fall 1991). Disasters Encyclopaedia of New Orleans Artists, bring to mind the wise counsel of present 1718-1918. The story to accompany the director Jon Kukla (fall 1992): "Amid publication of the journal ofjohn H. urgent human needs in time of fire, B. Latrobe, 1834 referred to flood, or hurricane, the fragile artifacts Latrobe as an intelligent and documents of our shared culture - traveler who "is an our common memory - have their / agreeable companion place, too." guiding us through It's important to recognize milestones. the 19th-century Last year, at the beginning South'' (spring 1986). The of the tenth volume, Bibliography of New Orleans we felt the name Imprints, 1764-1864 "results Newsletter, serviceable from a scholar's pursuit and a col­ as it was, should be lector's zeal," the Newsletter noted in changed. Quarterly, the 1988 about the soon-to-be-published new name, more accurate- work by Florence Jumonville. 1y reflects our intent to Looking back over the past 10 years, throw light on many differ- the editors become reflective - and ent aspects of Louisiana his­ sometimes hear voices. There are warn­ tory and culture. In the ings. Maureen Donnelly tells us about process, light has fallen on staff the hazards of sunlight and humidity in members, exhibitions, meet­ "Care of Furniture" (spring 1985). There ings, and the daily life of an are questions. Rosanne McCaffrey, for­ institution. Hearing voices, merly director of systems, asks "What is building on our common this place?" ("Profile," spring 1988) upon memory, and - this is discovering the Collection on a walk essential - planning the ] down Royal Street many years ago. next issue are foremost in our There's John Magill's voice commenting minds as we move ahead. on the underside of history - New - Louise C. Hoffman Orleans floods, yellow fever, hurricanes,

9 RESEARCH CENTER ACQUISITIONS

Of the thousands of items Barataria, St. Charles Parish, and • Mary Morrison of New Orleans has the Historic New Orleans Grand Isle. donated materials documenting local Collection adds to its Covering the period 1806-1809, the political history from the 1940s through research and museum volume is enhanced by a name index for the early 1960s. Files are included con­ holdings each year, gifts all individuals involved in the transac­ cerning the career of governor Sam Jones donated in memory of a tions. Prominent persons appearing in from 1939 to 1948, the mayoral cam­ friend or relative have a the index include Spanish colonial official paign (1945-1946) of deLesseps S. special distinction for Pedro Pedesclaux, diplomat Edward Morrison, and the campaign for judge­ donors and curators alike. When cata­ Livingston, land owner and politician ship (1959-1960) of Mary Morrison's loged and made available to researchers Daniel Clark, and Marie Louise Le husband, preservationist Jacob Morrison. and visitors through the Collection's exhi­ Senechal d'Auberville, wife of Francisco Additional papers in this collection recall bitions and reading rooms, memorial Bouligny. the donor's political activities through gifts attest to our shared memories and reflect the interests to which remembered friends and family members devoted themselves. The Historic New Orleans Collection ;;.~·±->.,, "'( . encourages research in the library, manu­ <~ scripts, and curatorial divisions of its ,;~ research center from 10:00 a.m. to 4:30 ~ p.m., Tuesday through Saturday (except ~· holidays). Cataloged materials available "'· to researchers include books, manu­ ., scripts, paintings, prints, drawings, maps, photographs, and artifacts about the his­ tory and culture of New Orleans, Louisiana, and the Gulf South. Only a few recent acquisitions can be noted here.

in MANUSCRIPTS .·,um/ Barthelemy Lafon (1769-1820) was an architect, engineer, city planner, and sur­ veyor. Born in France, he arrived in New Orleans in 1789 or 1790. Among his . [--·. achievements were the subdivision of Faubourgs Marigny and Annunciation • and the planning of Donaldsonville. LAC', ALLEMANDS._. The Collection holds numerous ru.J.-..,, le .. dumoo;dc r­ dc l'anntt 180 ~ rt la 3,i ..... anntt de l'ladE- ' a,),.... • ,, '"' W,;. examples of Lafon's work, including a ~ d<~ Etab-Urus de 1·=-~ ,,,.,,i.,. .,,.... Uoilffi Stam.,,,_ :J,. ~ .... 1;, ~ ., large volume of maps and plans. The ~ I, ...... , BARTHELEMY LAFON, A,. I\' ,l M/ITIIQI.OJ(.E.1' ~I£ lltlo!, S.,. pw ISAAC BRIGGS. ,.,,...... ~,r,,.,c...,, ...... ~ recent acquisition of a second volume , - dfput4 ge!\Cral dn Territoirn Sud du TCRIIClll6t , certi6c JSAAC BRIGGS "9· s,;..,,,... ,( 1/w ,_ ,( containing his surveys and plans provides m•~tft! transportC i la r~iwon de M. the UIOud Statn, s-t4 -.{ tN s,.,, ·'I'~, .4o.- fl*- - ,-.i J- f"J ,• .__ do (ff'tif, tltot al ,., ,.,.., • • an additional record of land use in ,ur une ,cm, situ!e -~ 7'.'lt- I- 1 ,_ __,_ .... -. pour cn mnurcr l' l:tt.·ndue ; r,~er Its homes au let the early 19th century. Bound with the ' .,_, ...... " n::'IOUvckr ~ lx-soin ct:ait ; (ublir Its lignea CIJtn: - ntallu4nl tlw /i,,n--­ .,. ~ title "Surveys by B. Lafon No. 2," the vol­ ' \'oislfb limitroplx.,. I ~'-1,. ume contains written abstracts of 120 \ property transactions and accompanying maps and surveys, including 35 watercol­ ors. Areas represented are the French Quarter, Bayou St. John, German Coast, The German Coast (Lac des Allemands) from Barthelemy Lafon's survey book (92-51-L)

JO work with the Voter TERRITOIRE D ORLEANS Registration League (1950- COMTE D'ORLEANS. 1952) and the Independent ·1-. Women's Organization -i:t:~-....'t ,. (1945-1951). ~ <.,( • Several community orga­ ~ nizations have recently i) / ~ donated their records. Such donations are particularly appropriate for organizations I I ):, .. ~ without an archivist or histo­ •. C rian. Records come either through governing boards or from individuals who have :Ram lon;i,, d'~1t.. Sa\", J. _:p,,,L 'B been leaders within the orga­ v._, l!,oulis,,. ~ nization. 47#- 1 ·. France-Amerique de la Louisiane, Inc., has donated

its records covering the peri­ . ·A. od 1950-1990. The records llu. c~.ui: consist of correspondence, photographs, programs, I • ··-\ ... ·I~ •

newsletters, and certificates --.u,, Mr. • ,.._., .'.\ . r.•: that demonstrate the organi­ zation's efforts to promote ,J"' QUART IE R. French heritage through . AL..., ·';O..-f-J - ae' 1{du mois de .] ••.-.._ do- l"annk 1eoC ot la 3 I--'"""" ck l'lndc­ ~ ,,.. • .;w at,. scholarships, civic activities, pmdancc cb Elm-UNI de l'AmCr~. pn,d,v,« of (i, tt~ SU11n of ,,_,,_ and cultural events. .k ,oossignf BARTHELEMY LAFON, A,. I B~RT;"J.~~EW L~~;, IJ./#t, &,,.. Materials documenting pcno:u, deputt r- ISAAC BRIGGS, ""-"'· ~ ef '"' ~ •f""'4il., """ .,,.... gfnfr..a dn Tenitoirn Sud du T~ , certilt IS,Ut: 11RiGGS &,. ~ .; • " work of the Tennessee m?t~ ~ i la ~isiuon de ~ '"' u,,;,,J s,...,; s-A of'"' s. .. ,,,._ .,.;,,ifj '""' "' :i; ~ /"'" Williams/New Orleans ~-...... ~. - - rbiidanl. •..,v•&...- MU' UI"° lt.TTC sit:uet° ;. ... J,.t ,_,.J,C, - l • -· A . I~~ Al, la(, Literary Festival since its pour m mrsurcr l'Cu.1dut: ; her n bomts OU ltl _lxtfi nal,n tlwt-, w ,__ •.... , . · """""ckT ,; ho.""" ,.,;, ; coiblir b lign

'

11 LIBRARY in administering institutions of learning a carte-de-visite view of Wilson, Childs throughout his life. According to the and Co. Wagon and Cart Repository at The late Henry C. Pitot, a direct descen­ 1846 New Orleans city directory, the 68 Carondelet Street. dant of Mayor James Pitot, had a keen Franklin School House stood on St. • A group of navigation charts focusing interest in Louisiana history and made Charles between Julia and Girod streets. on the waterways of the lower Mississippi many important donations to the • Dr. and Mrs. Robert C. Judice have River and the Gulf Coast, published by Historic New Orleans Collection during donated 130 pieces of sheet music dating the U.S. Government during the 1950s his lifetime. In his memory, Mrs. Pitot from the late 19th and early 20th century. and 1960s, is the gift of Mr. and Mrs. recently donated 100 books and pam­ They were originally owned by sisters Walter Barnes. phlets from his extensive personal library. Lucie and Noelie Duhon of Convent, • Commemorative objects that recog­ These items pertain to Louisiana, to Louisiana. Although not all of the pieces nize events of major or minor significance France, and to other colonies of France in were published in New Orleans, they help illuminate the understanding of an the New World, including a substantial were sold locally and represent the sort of era in a very specific way; a number of group of publications about Saint popular music played by turn-of-the-cen­ these items have recently been added to Domingue. tury Louisianians. the department's holdings. Following the • Louisiana sports memorabilia are • The Knights of Pythias Complete exhibition Over Here! New Orleans rarely available. Recently acquired is a Manual and Text-book by John Van During World War II, which featured flyer dated October 10, 1893, advertising Valkenberg, published in 1889, is a beau­ the A. J. Higgins boat yards, Mr. and a "grand double bill" of boxing matches tifully illustrated volume which contains Mrs. James Husk have donated a pewter at the Olympic Club a few days later, general information about the organiza­ pin showing the Higgins-designed PT along with its printed envelope addressed tion as well as miscellaneous facts about boat 450. Professor Jules d'Hemecourt to one H . Dugas of Paincourtville, their Louisiana chapter. The organization has donated two silver souvenir medal­ Louisiana, and two admit cards. The considered itself a link in the chain which lions made for Louisiana's 175th anniver­ Olympic Club, founded in 1883, was includes the Freemasons and Odd­ sary in 1987. The designs show the state located in the Third District on Royal Fellows, all "powerful agencies in the seal with motto and, on the reverse, Street between Montegut and Clouet refinement, culture, and elevation of fall- images of the capitol, state flower, an oil streets and boasted the most impressive en man. " derrick, a Mardi Gras mask, and a craw­ arena in the nation. It also h ad such - Pamela D. Arceneaux fi sh superimposed over a map of amenities as a bar, a billiard hall, and a Louisiana. Also acquired are several sou­ library. Louisiana, the first state in the CURATORIAL venir plates documenting Louisiana nation to legalize prizefighting in 1891 , architecture or business enterprises, was considered the boxing capital of the Mrs. P. Roussel Norman has donated among them a 1903 plate depicting United States in the 1880s and 1890s a color photograph (ca. 1976) by Philip Faith General Paving Contractor and again from 1910 to 1915. Jane Iseley that records the interior of and a 1952 plate commemorating the • William A. Scott (1813-1885), pastor Turci's Restaurant on Magazine Street. Eighth Street Methodist Church in New of the First Presbyterian Church on Other photographic acquisitions include Orleans. Lafayette Square, presented an address at a carte-de-visite portrait of 19th-century - John H. Lawrence and the dedication of the Franklin School actor and artist Joseph Jefferson, and Judith H. Bonner House on November 23, 1844. The Collection has acquired a copy of his remarks, a lengthy speech entitled The Education We Want, published in New Orleans in 1845. In the address, Scott observed that "The process of education begins at the earliest dawning of the intel­ lect. It levies a contribution upon all events, things and circumstances that come within the horiwn of the infant, child, youth and man-from the cradle to the coffin." As chief pastor from 1842 to 1854, Scott edited the New Orleans Presbyterian, a weekly paper. Largely self-educated, he remained active

12 BOYD CRUISE ARCHIVE

n January 1950, artist Boyd Cruise was Iasked to become the curator of the Williams Collection, the private holdings of General and Mrs. L. Kemper Williams. For many years they had col­ lected manuscripts, maps, books, and art­ works primarily relating to the history of New Orleans. Mr. Cruise happily accept­ ed the appointment, for he was himself a collector, albeit on a much more modest scale. His work cataloging and caring for the collection was important, and, on General Williams's death, the board of directors of the Williams Foundation appointed him the first director of the Historic New Orleans Collection. Mr. Cruise, who had won a scholar­ ship to study at the Arts and Crafts Club, began painting in New Orleans in the late 1920s. His still lifes and scenes of 18th- and 19th-century buildings enjoyed an appreciative audience. Albert Lieutaud, whose shop was in the Royal Street complex of buildings owned by the Williamses, acted as Mr. Cruise's agent, introducing his work to local collectors and visitors from many parts of the country. Anyone familiar with the Cruise paintings can recognize the exquisite details with which he built his images. He Night Blooming Cereus, private collection was equally meticulous in recording the names of purchasers and the cities to which they took his paintings. The the Collection is tracing as many owners exists. However, information is available Collection is trying to trace these patrons or their heirs as possible. For 50 of the on over 300 works, and THNOC will (see next page). In 1942 the Kennedy paintings, no negative or other image attempt to obtain photographic repro- Gallery in New York gave a Cruise ductions and reproduction rights exhibition from which many paint­ for use by future researchers. The ings were sold. Unfortunately, no 158 works owned by the Collection records from those sales are avail­ - many donated by the original able. In his careful manner, Mr. owners - are well documented. Cruise had most of his paintings An archive would make available photographed by Dan Leyrer, the material from Mr. Cruise's files, his negatives of which are at the log book, prints of all his known Collection. works, and the original paintings at Over 400 paintings and draw­ the Collection. ings by Boyd Cruise are known to - Dode Platou, exist. To build a Cruise Archive, St. Ann Street (1989.79.133) Director Emerita

13 section of the Museum Stores Association THE SEARCH Is ON STAFF meeting at the Walter Anderson Museum The following persons, listed with in Ocean Springs, Mississippi. city when known, were recorded Doug MacCash, preparator, attended by Boyd Cruise as buyers of his the Art in Transit Workshop sponsored paintings. The Collection is seeking by the National Gallery of Art in Dallas. current addresses for the people on Maclyn Hickey, assistant registrar, has this list or the name and address of joined the Crescent City Needlework an heir. Guild to learn more about textile conser­ Mr. and Mrs. Boxley, Laurel, vation and techniques of needlework Mississippi; Mrs. C. D. Brewster II; on linens. Dr. Ruth B. Brinkhaus, Jennings, Louisiana; S. N. Campbell, Chattanooga; Mary Ruth Cullen; Susan Dees, Lake Charles; Mrs. Professional Activities Frank Elliot; Dr. Ralph Fabacher; Dr. Alfred E. Lemmon, curator of Van Ness Foster, Vermont, and manuscripts, served as guest editor of the Beech Grove Plantation, Wilson, summer issue of Louisiana Library Louisiana; Mr. and Mrs. Frederick Bulletin, dedicated to Spanish Louisiana. Fuchs; Mr. and Mrs. Jean Grelet, Judith H. Bonner, associate curator, was Long Island and Miami; Miss Bessie the primary humanities consultant for Heard, McKinney and Bryan, Texas; development and production of John Mr. and Mrs. Earl Heitschmidt, McCrady's Southern Scene, funded by the Pasadena, California; Mr. and Mrs. Louisiana Endowment for the R. B. Honeyman, Jr., Pasadena; Mr. Humanities. The documentary recently Publications and Mrs. Dale Elmore Houston; aired on WYES-TY. The poster of St. Louis Cathedral by Mrs. James Howells; Martha Jude!!; Dr. Jon Kukla spoke on "The Old Jan White Brantley, head of photogra­ Mrs. Jules Lazard, New Orleans; K. Dominion and the New World Order" at phy, and Robert Brantley is the official E. McConnaughy, West Lafayette, the meeting of the Virginia Library poster for the bicentennial of the Indiana; Mrs. Logan McConnell; Association. Dr. Patricia Brady, director Archdiocese of New Orleans in 1993. Mr. and Mrs. Ryall Morgan, of publications, chaired a session, ''Anglo­ The posters will be sold to churches and Birmingham, Alabama; Mrs. Lewis Hispanic Contact in Spanish Louisiana," schools and will be available in the shop B. Morrow, Memphis; Harry Shaw at the Southern Historical Association at the New Orleans Museum of Art dur­ Newman, New York City; Jean N. meeting in Atlanta. ing the exhibit Treasures of the Church: O'Brien, New Orleans; Mr. and 200 Years of Faith and Service, April 18 Mrs. Wayne Palmer, Mobile; Mrs. L. through July 18. The Pitot House of New W. Ramsey, Davenport, Iowa; Mrs. Orleans by Samuel Wilson, Jr., with color B. James Reaves, Little Rock; Mr. photographs by Jan and Robert Brantley and Mrs. Paul D. Schaffer; heirs of was published in November. Harold Schilke; Miss Charlotte John H. Lawrence, senior curator, Tucker, Lake Charles; Mrs. Lasstie P. contributed a brief biography of Clarence Vincent; Capt. and Mrs. Peter John Laughlin to accompany a compact­ Wormwood; Mr. and Mrs. Gilbert disc recording by the Valcour String S. Wright, Los Angeles. Quartet ... the music was inspired by Anyone with information may call Laughlin's photographs. Alfred Lemmon Dode Platou collect at (504) 523-4662. wrote an article for Louisiana Library Leslie Johnston, documentation coor­ Bulletin on efforts to microfilm Louisiana dinator, was elected to the board of direc­ documentation in the Archive of the PHOTO CREDITS tors of the Museum Computer Network Indies in Seville, Spain. Judith Bonner and will act as executive agent of contributed five articles to New Orleans . Jan White Brantley the board in managing the CIMI Art Review. A review by Leslie Johnston Cornelius Regan (Computerized Interchange of Museum appeared in the winter 1993 issue of Judy Tarantino Information) project. Sue Laudeman, Visual Resources. shop manager, chaired the regional An article by John Magill, associate 14 curator, will appear in the February issue Columbus, with the contribution "Two Association), the Orleans Club, and of Preservation in Print and an article by Aspics of History." The 15th anniversary Baton Rouge Genealogical Society. . .Jon Louise Hoffman, editor, appeared in the show at the Arthur Roger Gallery Kukla, Genealogical Research Society of December issue. includes the work of Steve Sweet, assis­ New Orleans .. .Doug MacCash, Metairie tant preparator. Park Country Day School...Pamela D. Arceneaux, Nairn Conference Group ... Changes and John Magill, Pontalba Study Club. Greg Osborne is working part time in the manuscripts division .. . Chuck Thomas, an intern from Loyola WORKSHOP: University, worked in the manuscripts division during the fall. SOCIETY OF Meetings AMERICAN Florence M. Jumonville, head librari­ an, attended the annual meeting of the ARCHMSTS Exhibitions American Antiquarian Society in John H. Lawrence and Doug Worcester, Massachusetts, and a sympo­ he Society of American Archivists MacCash participated in a show at the sium honoring retiring AAS director Twill present "Understanding the Contemporary Arts Center, Discovering Marcus A. McCorison. John Barbry, USMARC Format for Archival and manuscripts research supervisor, attended Manuscripts Control," February 11-12 at the meeting of the Louisiana Archives the Historic New Orleans Collection. [ffi THE HISTORIC and Manuscripts Association in The course provides an introduction to 1t!l NEWORLEANS Natchitoches. the USMARC Format, a national stan­ dard for the exchange of archival informa­ ~ COLLECTION Speakers Bureau tion between different computer systems, ~J QUARTERLY Staff members have recently made pre­ and training on how to use the specific sentations to the following organizations: fields that make up USMARC records. Editors: Patricia Brady Louise C. Hoffman Patricia Brady, Latter Library (sponsored For more information, call Jane by New Orleans Public Library and New Kenamore, Society of American Head of Photography: Jan White Bran tley Orleans/Gulf South Booksellers Archivists, (312) 922-0140.

T he Historic New Orleans Collection Quarterl y is published by the Historic New Orleans C ollection, which is operated b y the Ke mpe r and Le il a Willia m s Foundation, a Louisiana nonprofit corpora­ tion. Housed in a complex of historic build­ ings in the French Quarter, facilities are open to the public, Tu es day th ro ugh Saturday, from 10:00 a.m. until 4:45 p.m. Tours of the history galleri es and the resi­ dence are available for a nominal fee.

Board of Directors: Mrs. William K. Christovich, Pres ident G. Henry Pierson, Jr. Francis C. Doyle John E. Walker Fred M. Smith

Jon Kukla, Director

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ISSN 0886-2109 © 1993 The Historic New Orleans Collection

15 THE BOYD CRUISE ARCHIVE: LOOKING FOR THE LosTWORKS

See story page 13.

SelfPo rtrait, 1953, by Boyd Cruise (1980.188, a,b)

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