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Home , History of New Orleans

Volume XVIII, Number 1 Winter 2000

NEW ACQUISITIONS ENRICH THE HOLDINGS

Creole Children by François Bernard, 1872 (1999.91.1) A Wealth of Portraits A Wealth of Portraits

hree recently acquired paint- ings from the 18th- and 19th-centuries not only add to the history of New TOrleans, but they also reveal the status, Mme Furcy Verret, née Elmire character, and personality of important Olivier de Vezin by Louis Antoine residents from the colonial period Collas, 1822 (1991.91.2) through Reconstruction. José Francisco Xavier de Salazar y Mendoza (mid- 1770s-1802) paints a double portrait of a military officer and his son; Louis Antoine Collas (1775-1856) It’s a rare occasion when the fall yields such Mexican-born Salazar — found customers gives us a formal portrait of a woman; a rich harvest: three major portraits to add who were eager to preserve themselves and François Bernard (b. ca. 1812) to the Collection’s holdings. Old portraits through art. Paint and canvas would portrays a group of children in an — glimpses into another era — provide endure, but life was chancy. interior setting. the opportunity to encounter a number of Salazar settled in in the Salazar, the earliest known painter 18th- and 19th-century inhabitants late 18th century and remained in the city to come to prominence in New Orleans of New Orleans. Time is held at bay. until his death in 1802. Collas, born in during the Spanish colonial period, por- The demeanor of the subjects, their clothes France, was a traveling artist who lived trayed Julien Vienne and his son Julien and hairstyles, are rendered with painterly briefly in New Orleans, returning periodically George Vienne about 1796. The portrait precision and invite an intimate look to paint portraits. Another Frenchman, is one of few known paintings of this at history. Bernard, painted portraits on a grand scale, period to include a child with a military Captain Julien Vienne, whose portrait as well as genre scenes and landscapes. subject. Vienne, who was born in is attributed to José Francisco Xavier de The portrait artist, interpreting the Normandy in 1755, served as captain in Salazar y Mendoza, lived at a time when face of the sitter — and his expectations — the New Orleans and the colonial city was in Spanish hands and makes the past immediate. Poet and critic fought in the 1779 Gálvez expedition. recovering from a devastating fire. A plump Zbigniew Herbert, writing of another Governor Gálvez commended him to Mme Verret, painted by Louis Antoine artistic group — these were 17th-century the Spanish court for his valor in the Collas, proudly wears a fine dress of 1822, Dutch painters — comments that “their Baton Rouge campaign, an action that accented with lace. François Bernard’s Creole role in society and place on earth were not “resulted in the acquisition of 430 children are posing momentarily and will questioned, their profession universally rec- leagues of the best land, of the most fer- soon be amusing themselves with tops and ognized and as evident as the profession of tile and richest of the .” In dolls and playthings in the year 1872. The butcher, tailor, or baker. The question why this double portrait, the elder Vienne captain’s eyes sparkle, Madame is subdued, art exists did not occur to anyone, because wears his uniform and hat. His son the children pensive. But whatever emotion a world without paintings was simply stands informally, wearing a simple is conveyed, the eyes seem to say, “We are real. inconceivable.” white dress and holding his pet in his We come from this place.” True also of Salazar, Collas, and right arm and a flower in his left hand. The portrait is a time-honored form, no Bernard, whose works are a skillful blend- Military historian Timothy Pickles cites matter the artistic trend of the day. Artists ing of art with our desire to make beloved Vienne’s uniform as typical of the painting in 19th-century New Orleans –– faces immortal. Spanish uniforms worn before 1800 in or in the late 18th-century as was the — Louise C. Hoffman embroidery, trim, and style. The red

2 cockade on his hat continues to be used Elmire, and Elodie Angèle. Mme Verret Creole Children, painted in 1872, reveals as part of the Spanish uniform. Vienne, died in 1848. Furcy Verret was a grand- much about the children and their socio- who was a lieutenant in 1779, was son of former lieutenant governor of economic status. They are shown in an breveted captain in 1792. Since Vienne Nicholas Verret. Their planta- interior with the clothing and accou- is wearing epaulets on both shoulders in tion, which faced the river and extended trements of a family of substantial means. the manner of field officers, it is proba- to Villeré, measured 475 feet As evidence of their education, the oldest ble that Vienne was promoted to the front and extended 24 arpents. The boy sits with a book on his lap, while a rank of captain before the por- younger boy leans on a book trait was painted. Mr. Pickles lying open on a cloth-covered points to the badges on table. Two of the girls wear lace- Vienne’s collar, which could be trimmed velvet dresses made in grenades, insignia worn by the same style, although the grenadiers and also worn by color of the fabric is different. officers in artillery units. The An assortment of toys is strewn clothing is characteristic of the on the richly carpeted floor, mixture in military uniforms and a plush red cloth hangs of the period. Vienne died in behind them. During the 1799. His son, who was about Reconstruction period in New five years old at the time of the Orleans, portraits were less portrait, was born in 1790. affordable than during the Collas, who earned his liv- antebellum period. The wealth ing in New Orleans during the of the family, though under- 1820s and 1830s by painting stated, is apparent in the overall miniatures as well as portraits, setting. Bernard, who was cited portrays Mme Furcy Verret, née in local newspapers for his abil- Elmire Duverjé de Vezin in a ity to convey “factual portrai- manner typical of the time. ture,” captures the family like- The 1822 portrait shows her ness in this group of children. bust-length against a solid These three paintings are background. She wears a black excellent examples of the por- dress with bateau neckline, traiture desired by citizens double strand of pearls, from the late 18th- through and drop pearl earrings. the mid-19th century. They Characteristic of many por- document the sitters and the traits of women at the time, Captain Julien Vienne and son by José Francisco Xavier de Salazar y Mendoza, ca. 1796 artists who came to promi- Mme Verret is portrayed with (1999.91.3) nence. Together they supple- emphasis on the sitter’s like- ment the Collection’s rich ness rather than an idealized holdings and increase our image. Mme Verret, the daughter of Verret , excavated by Verret in knowledge of the early history of the city Nicholas Joseph Godofroi Olivier de 1814, served to drain his property. and state. Vezin and Marie Marianne Bienvenu, According to family legend, the Lafitte — Judith H. Bonner was born in 1797. She was the grand- corsairs used the canal for passage to daughter of Pierre François Olivier de Chenière Caminada, Grand Terre, and ______Vezin, surveyor of the province of Barataria. THNOC’s manuscript hold- Sources: Artists Files, THNOC; Mrs. Thomas Nelson Carter Bruns, Louisiana Portraits (New Louisiana, whose five sons served under ings also include papers pertaining to the Orleans, 1975); Estelle M. Fortier Cochran, The Gálvez in the Revolutionary War. She Verret family. Fortier Family and Allied Families, (San Antonio, married Furcy Verret, the son of Jacques François Bernard, who studied in 1963); A Dictionary of Louisiana Biography, Verret and Marie Élisabeth Duverjé in Paris with Paul Delaroche, was active in Louisiana Historical Association in cooperation 1815. Père Antonio de Sedella, New Orleans during the late 1850s with the Center for Louisiana Studies of the Capuchin priest, who was pastor of the through the mid-1870s. He settled in University of Southwestern Louisiana (New Orleans, 1988); Jack D. L. Holmes, Honor and St. Louis Cathedral in New Orleans, sol- New Orleans at the request of several Fidelity: The Louisiana Infantry Regiment and the emnized their wedding on April 4, 1815. sugar planters who commissioned him to Louisiana Militia Companies, 1766-1821 They had three daughters: Louise, portray themselves and their families. (Birmingham, ,1965).

3 De La Salle claiming the Louisiana territory in the name of Louis XIV. Boquin, lithographer (1970.1)

n January 22, 2000, the Historic world that the former French territory had trained architect practicing in mid-nine- ONew Orleans Collection is offering become truly part of the .” teenth century New Orleans….It is per- the fifth annual Williams Research — Patricia Brady haps fitting that New Orleans’s most Center Symposium, “France and Director of Publications prominent and symbolic building, the Louisiana: Journée d’Étude,” in the Grand The Historic New Orleans Collection St. Louis Cathedral, still towers over the Ballroom of the Omni Royal Orleans Carnival of Liberty: Lafayette’s Visit to city’s central square in testimony to his Hotel. Speakers from both France and the Louisiana, 1825 extraordinary creativity.” United States will present papers on the  — Ann Masson French heritage of Louisiana. Excerpts “Since slaveholders claimed to have Architectural Historian from three of the papers appear below. direct dominion over their slaves, and New Orleans Also participating are Carl Ekberg, since slaves denied the legitimacy of such The Architectural Career of State University; Elisabeth de domination, the function of slave law J. N. B. de Pouilly Grimoüard-Caude, conservateur de patri- has always had a problematic quality. monie, Cour d’Appel, in Rouen; and Dr. Often it appears irrelevant to the opera- Derrick Cartwright, executive director of tion of slave society. Yet, at critical “France and Louisiana: Journée the Musée d’Art Américain in Giverny. moments, law reshaped slave life.” d’Étude” will be repeated on May 6,  — Ira Berlin 2000, in Giverny, France, at the “General Lafayette, George Washington’s Professor of History Musée d’Art Américain. THNOC protégé and one of the true heroes of the University of Maryland is offering a tour to France, May American Revolution, returned to the The Case of the and the 3-10. For further information, United States in 1824-25 as the guest of Transformation of in Louisiana please call Peter McLean, Ltd., at the nation. His trip turned into a tri-  (504) 833-6275 or the reception- umphal progress as he visited all twenty- “Jacques Nicolas Bussiere de Pouilly ist at the Williams Research four states of the union. Lafayette’s (1804-75) was quite possibly the most Center (504) 598-7171. sojourn in Louisiana proclaimed to the imaginative, progressive, and best-

4 RS HRISTOVICH ONORED M . C H FROM THE ACTING DIRECTOR

ary Louise Christovich, president hank you for Mof the Kemper and Leila Williams Tyour wonderful Foundation, has been in the spotlight response to Queen of on numerous occasions over the past the South: New few months. Orleans in the 1850s, On September 21, along with nine our exhibition, book, other community volunteers, Mrs. and video based on Christovich received the St. Elizabeth’s Thomas K. Wharton’s descriptive jour- Guild Volunteer Activist Award for 1999 nals. Exciting lectures will be held from presented by Dillard’s Department Store late January through the beginning of and Prescriptives Cosmetics at a benefit March further exploring New Orleans’s for St. Elizabeth’s, a charitable institu- glorious era. tion for girls. We are looking forward to a new In October she was one of the recip- exhibition opening at the end of April ients of the Ten Outstanding Persons on the history of New Orleans in the (TOPS) Award, presented by Family 20th century. The two-part exhibition Service of Greater New Orleans. Mrs. and Save Our Cemeteries, Inc. SOC was will feature collections documenting our Christovich was honored for her volun- founded by Mrs. Christovich in 1974. most recent times. teer, charitable, and civic service at the Also in November, she received an award For nearly three decades of growth, 26th annual TOPS gala on October 21. from the Freedoms Foundation. In the Williamses’ collection of objects and On November 1, Mrs. Christovich January Mrs. Christovich spoke to the the foundation they established have presented “Twenty-Five Years of Save Louisiana Historical Society about supported the study of the history of our Our Cemeteries,” a slide lecture spon- Arsène Lacarrière Latour’s interpretation city and region. The growth of the col- sored by Louisiana Landmarks Society of the . lections into a deep and rich wealth of information chronicling our history is due to direct gifts as well as acquisition THIRD SATURDAY funds established by benefactors who A CONTINUING PROGRAM saw the importance of continuing the AT THE WILLIAMS RESEARCH CENTER legacy of Kemper and Leila Williams. 410 Chartres Street Although most of the materials in the 9:30 - 11:00 a.m. An introduction to research at the library, curatorial, and manuscripts col- Williams Research Center, each session lections would be considered historic by includes an orientation to the book, manu- virtue of their age, the “historical pre- script, and visual image collections. The sent” and its preservation is of keen final portion of each session focuses on a interest to the Historic New Orleans particular resource. Collection. In the vaults and on the FEBRUARY 19: shelves of the Williams Research Center Sources for the Study of Mardi Gras are books on Louisiana history pub- lished in the most recent years, contem- MARCH 18: porary maps of the city, and microfilms New Orleans in the 1850s of recent newspapers. Many other APRIL 15: Jelly Roll Morton, September 1939. Photograph by objects, both large and small, permanent Otto Hess? (92-48-L) SPECIAL PRESENTATION and ephemeral, chronicle the ebb and The Ursuline Library: Acquisition, THE FIRST ANNUAL flow of life in our area. We hope that Care, and Access, in celebration of you will continue to think of us when National Library Week. Presenters: BILL RUSSELL LECTURE such materials in your possession need a Gerald Patout; Sr. Susan Kienzler, OSU; Dr. Michael White, jazz historian and secure and accessible home so that they and Dr. Charles Nolan musician, speaks on Jelly Roll Morton. may be appreciated and studied by Limited enrollment, reservations future generations. required (504) 598-7171. Light refresh- Thursday, April 13, 2000 — Priscilla Lawrence ments follow. 7:30 p.m., 410 Chartres Street

5 THE PHOTOGRAPHIC COLLECTIONS n the past 20 years, the Historic New Photographs; Clarence IOrleans Collection has made a con- John Laughlin scious effort to develop photographic Photographic Archive; holdings which not only constitute a sig- Daniel S. Leyrer nificant resource in terms of photo- Collection; Louisiana graphic collections, but which serve as a World Exposition complement to the other visual materi- Photographs; Stuart Smoke of Destruction, #2 (Linwood Plantation), als held by the museum. Toward that M. Lynn Collection; Jessie Gould 1939, by Clarence John Laughlin, photoprint end, photographic acquisitions have Rainwater, Jr., Photographs; Michael A. (1981.247.1.848) tended to be focused on obtaining bod- Smith Photographs; Sam Sutton - Chester ies of work by photographers and stu- Dyer Aerial Photographs Collection; Betsy dios important to the region, rather than Swanson Architectural Photographs; Doris single, albeit desirable, images. The abil- Ulmann Photographs; and Morgan ity that such an approach offers to mark Whitney Collection. These photographs trends and track changes over time is were acquired through donation and pur- extremely useful in gauging the visual chase before 1990. character of history. “Bodies of work” is More recent groups of pictures added a term that encompasses both relatively to the holdings include works by Lyle small holdings by contemporary photog- Bongé, (jazz musicians and events from raphers, and multi-thousand image col- the 1960s); Jules Cahn (New Orleans jazz lections, which represent the total life- musicians and cultural events, 1950s— span of commercial studios. To be sure, 1980s); Walker Evans (architecture of New unique or masterpiece images are part of Orleans and environs, mid-1930s); Abbye collection policy, serving as highlights in Gorin, (architecture and events of New the historical continuum formed by the Orleans and environs, 1960s); Norman large collections. Thomas (jazz funerals and A primary criterion for the pho- nightlife, 1960s); and Randell B. Vidrine Juanita Gonzales, ca. 1932, by Joseph W. “Pops” tographs acquired by the Collection is (documentary, autobiographical, and Whitesell, photoprint (1978.122.8) the depiction of specific information of a portrait photographs, 1980s –1990s). documentary or descriptive character. Many smaller print holdings by Among THNOC’s major photo- dozens of photographers are represented graphic holdings in the curatorial division in the Collection as well, including those are the Eugene Delcroix Collection; Jay that are part of manuscripts collections. Dearborn Edwards Photographs; Charles A short guide to the photographic collec- Franck Studio Collection; Richard Koch tions is available in the museum Shop. Historic American Buildings Survey — John H. Lawrence

ON VIEW The current exhibition at the Collection, on view until April 8, and a book, Queen of the South: New Orleans, 1853-1862, highlight the observa- tions of Thomas K. Wharton, the superintendent of construction for the Custom House. Rivergate construction, foot of Canal Street, 1966, by Sam R. Sutton, photoprint (1984.166.2.430). Gift of Sam Sutton

6 SEEING isNot BELIEVING

ith computer enhancement, W a picture today can tell a thousand lies. But pictures from the past were no more reliable. Nineteenth-century magazines and newspapers shamelessly altered pictorial reality to meet a deadline or outshine a rival. These two prints are a graphic case in point. In 1842 a talented free man of color, artist Jules Lion, created a Procession in honor of the unveiling of the equestrian statue moody, evocative lithograph of the of , 1856 (1974.25.14.157); inset, , looking down The Cathedral, New Orleans, by Jules Lion, lithographer, Chartres from St. Peter Street. The 1842 (1940.10) view shows the old St. Louis Cathedral with its bell-shaped Spanish- 1855) with large, striking illustrations era towers, portions of the flat-roofed and up-to-the-minute news. Leslie’s and Presbytère, one of the motto— “Never shoot over the heads of dilapidated rental buildings along St. the people”— created a vivid and lively, Ann Street, and a portion of the Place if somewhat superficial, paper. To repro- d’Armes with its rows of well-grown duce large engravings quickly, Leslie trees. Printed by Manouvrier and sawed the wood blocks into sections, Chauvin, numerous copies of this litho- assigning a section to each of his army of graph were sold. engravers, and then rejoined the block The print on the left depicts the for printing. grand public fête of February 9, 1856, Should a researcher assume that the honoring the inauguration of Clark paper had an artist in faraway New the Presbytère, the buildings along St. Mills’s statue of Andrew Jackson, the Orleans who provided an accurate draw- Ann had been demolished and replaced hero of the Battle of New Orleans. ing of the event? Not at all. Notice that by the lower Pontalba building, and the Thomas K. Wharton was present in the the journal’s illustration, minus the cele- trees in Jackson Square (the renamed crowd of 20,000, thoroughly enjoying brants, is a copy of Lion’s lithograph, Place d’Armes) had been cut down and the “superb spectacle” of gay military down to the smallest detail. But it is an replaced by a French garden. uniforms, gilded banners, and excellent inaccurate representation of the scene in Such pirated and altered prints were music. This scene was published March 1 1856. By then the shabby old cathedral commonplace in newspapers and in New York by Frank Leslie’s Illustrated had been almost entirely rebuilt in a new magazines of the day. Researchers should Newspaper, a new mass-circulation jour- design with pointed spires, mansard beware of trusting the evidence of their eyes. nal (its first issue was December 15, roofs had been added to and — Patricia Brady

7 HORACE FLETCHER

n mid-1898, after established had to curtail his social activities, give Itreatments had failed, a former up the house he had rented at 998 resident of New Orleans named (now 4010) St. Charles Avenue, and Horace Fletcher cured himself of send his family to stay with relatives obesity and chronic illness with a in order to clear the debt in two regimen of his own. Fletcher lost years. Distraught 50 pounds and acquired “the at the combination of events, strength and endurance of a Fletcher, normally the “happiest young giant.” Combining diet and most joy-giving of mortals,” and philosophy, Fletcherism according to Mollie Moore Davis, advocated prolonged chewing, became depressed. eating only what and when the Had he been less distracted by appetite dictated, and cultivating his financial problems, Fletcher optimism. Its supposed benefits might not have ignored a sugges- included ideal weight, stamina, tion made in February for reducing moral fiber, and — since his weight. After eating an enor- Fletcher thought chewing mous meal at the Franklin home of extracted more nutrients Julius J. Pringle, a renowned from food — economy. Even gourmet, Fletcher asked his host well-wishers laughed at first. how he stayed so slim. By chewing “Shame to us unbelievers food 32 times, Pringle replied, that we were!” recalled one Photograph of Horace Fletcher and book from the because this prevented over-eating. friend, the New Orleans Mary Evelyn Jahncke Papers (90-79-L) Later, Fletcher would credit the writer Mollie Moore Davis, “epicurean philosopher” with pro- “we pelted [these ideas] with viding the most distinctive feature kindly ridicule.” In time, of Fletcherism. however, Fletcherism He now weighed 217 pounds, More immediate solace came from became a popular health although only 5' 6" tall, and friends anxious to raise Fletcher’s spirits. cult. was constantly ailing. When Joseph Jefferson, an actor famed for his Fletcher had no training in dietetics. life insurance companies refused him portrayal of Rip Van Winkle, reminded After a spell as a sailor, the Massachusetts coverage, he believed himself “ready for Fletcher that even the unfortunate had native spent 20 years trading with the Far the ‘Human Scrap-heap’.” Fletcher something that other people envied. East before coming to New Orleans in blamed the “luxurious living” and Ernest Fenollosa, curator of the oriental 1889 to manage a branch of the I. D. “aggressive hospitality” he and his wife collections at the Museum of Fine Arts Fletcher Company. Headquartered in New Grace had encountered in society circles, in Boston, recommended Buddhist York, this thriving family firm produced but he in particular had loved going to teaching to eliminate negative emotions. building supplies. Fletcher supervised its parties and helping to run Mardi Gras Mollie Moore Davis, at whose famous factory at Gravier and Magnolia Streets celebrations. Moreover, the Fletchers receptions Fletcher was a regular guest, until his retirement at age 48 in 1897. themselves reportedly held “salons on encouraged him to vent his feelings in Fletcher retained fond memories of the style of those of the French empire.” writing. The result was an essay on opti- his years in the South, but in the spring Emulation of the local elite had further mism for a local philosophy club called of 1894 he simultaneously went through consequences. In spring 1892, perhaps the Ganglionics. Fletcher’s arguments two bad experiences that stemmed from at the invitation of fellow members of were heavily influenced by New his lifestyle in New Orleans. The resolu- the Pickwick and Boston Clubs, Fletcher Thought that maintained that thinking tion of these problems explains the joined the coterie of rich men who kept about being well made one well, and eclectic nature of Fletcherism. A former the French Opera House afloat. An that thinking moral thoughts enhanced athlete and president of the San extravagant pledge for the 1893-94 achievement. The publication in 1895 of Francisco Olympic Club, Fletcher had an extended version of his essay, titled previously prided himself on his fitness. season left him owing thousands. Fletcher Menticulture or the A-B-C of True Living,

8 won Fletcher national acclaim. He pub- lished another book in the same vein CELEBRATING 300 YEARS two years later. Restored emotionally and financially, n 1699 Pierre Le Moyne, sieur though still the same “fat, flabby, help- Id’Iberville, took possession of Louisiana less invalid” he had been three years ear- for France. This important date marks the lier, Fletcher retired in mid-1897 and beginning of the French presence in the spent the next year fruitlessly touring region, a presence that has endured and health spas. Then, alone in a Chicago shaped the state’s history and develop- restaurant one day, everything started ment. Louisianians have acknowledged falling into place. Upon a whim, he the ties between France and Louisiana tried Pringle’s prolonged chewing, with a series of cultural events that come which left him satiated before he had under the banner of the year-long celebra- finished his meal. The future was settled tion known as FrancoFête. THNOC has at that point, for Fletcher had always commemorated the anniversary with had great faith in his impulses. “The fact numerous recent acquisitions relating to that I wanted a thing,” he once said, the colonial period of Louisiana. “was the surest sign that that was the thing that I ought to have.” New Thought, which encouraged people to Manuscripts 99-1-L Archive of the Ursuline Nuns of the act on their morning thought, the first Parish of Orleans (microfilm) on awakening, had merely bolstered this 99-12-L The Ida Schanil (Mrs. William Gonnet) self-centeredness. Fletcherism’s reliance Historical Collection, ca. 1740-ca. 1903 on the appetite’s dictates was the 99-15-L Lettres Patentes du Roi, Concernant la vente & la discussion des biens, meubles inevitable outcome. & immeubles de la Compagnie & Société New Thought and eating techniques des Jésuites, en la Colonie de la Louisiane Prospectus, proposing the establishment of a colony on proved a winning combination that le 11 Février 1764 the in North America, by Pierre Le attracted a large following on both sides 99-16-L Arrest du Conseil d’estat du Roy, Moyne, sieur d’Iberville, Paris, probably summer of Concernant la retrocession faite à Sa 1699 (99-110-L) of the Atlantic, even among those who Majesté par la Compagnie des Indes, de la did not need to watch their weight. concession de la Loüisiane & du Pays des Horace Fletcher’s experiences in New Illinois, 13 Janvier 1731 Library Orleans suggest the reasons. Fletcherism 99-26-L Natchez Trace Collection: Provincial and 99-208-L Real Decreto, que previene las reglas, Territorial Papers. (Center for American y condiciones con que se puede hacer aimed to cheer people up as well as to History, University of , microfilm) el comercio desde España a la tackle their physical problems, and it let 99-35-L Soniat du Fossat Family Papers, ca. 1607- Provincia de la Luisiana (Madrid: en people feel they had some control over 1932, bequest of Elise and Lucille Soniat la Imprenta de Don Gabriel their circumstances. Fletcher himself 99-44-L Records of French Superior Council and Ramirez, 1768) Spanish Judicial Records, 1714-1803. Curatorial never wavered in his belief that this would (Louisiana Historical Center, microfilm) 1999.52.1 Map: The Coast of West make the world a better place to live in. 99-46-L Inventory of Community Property of and Louisiana/The Peninsula and — L. Margaret Barnett Jean Lacou Dubourg and Marie Jeanne Gulf of Florida (Thomas Jefferys, Isambar, 1781 cartographer, 1775) Margaret Barnett, a former Williams Research 99-91-L Pierre de Rigaud Vaudreuil 1999.52.9 Map: Carte reduit de L’Océan Fellow, is a professor of history at the University of de Cavagnial Papers. ( The Huntington Occidental (Jacques Nicolas Bellin, Southern Mississippi in Hattiesburg. Library, microfilm) cartographer, 1766) ______99-109-L Prudhomme Family Papers 1780-1920 1999.52.10 Map: A New Map of the 99-110-L Iberville Prospectus for the founding of Terraqueous Globe according to Sources: R. D. Blumenfeld, R. D. B.’s Diary 1887- Louisiana 1699 the Ancient Discoveries and most 1914 (London, 1930); Jahncke Papers, THNOC; 99-112-L Arrest du Conseil D’État du Roy, qui pro- general Divisions of it into M. E. M. Davis, Keren-Happuch and I (New roge pour dix ans l’exemption des droits Continent and oceans. (Edward Orleans, 1907); Picayune, Mar. 7, 1893, Dec. 25, d’entreé & de sortie sur les denrées & Wells, cartographer, ca. 1700) 1898; Ladies’ Home Journal, Sept. 1909; Argonaut, marchandises que les Négocians françois 1999.44.4.1-4 Map: , Louisiane Et Terre Aug. 31, 1903; Independent, Mar. 19, 1908. feront transporter dans les colonies de la Angloises (Jean-Baptiste Danville, Louisiane; & l’exemption, pendant le engraver, 1755) même temps, de tous droits d’entrée sur 1999.63 Map: Accurata delineatio celerrimae les marchandises & denrées du crû & du Regionis Ludovicianae vel Gallice commerce de ladite Colonie. Du 30 Louisiane et Canadae (George Novembre 1751 Seutter, cartographer, ca. 1730)

9 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 , Louisiana, and the Gulf South. Each year the Collection adds thousands of items to its holdings by donation or purchase. Only a few recent acquisitions can be noted here. CURATORIAL Elizabeth Nicholson Fischer donated a pair of English flintlock pistols formerly owned by J. R. Quintero, a reporter for the Picayune in the 19th century. Quintero outlined the etiquette of duel- ing in an 1883 publication titled The code of honor, its rationale and uses, by the tests of common sense and good morals, with the effects of its preventive remedies. The guns, manufactured by Edward Lewis and Francis Tomes between 1825 and 1839, are made of Damascus steel with engraved lock plates, trim, and platinum “touch holes.” During the 19th century, persons who felt aggrieved Allison “Tootie” and Yellow Pocahontas, from the Mardi Gras Indians series, by Christopher Porché- West (1999.87.8) by articles appearing in the newspapers customarily challenged the newspaper’s proprietor and editor. Family tradition Exposition, and a view of a man standing through the bequests of Elise Soniat and has it that Quintero offered his dueling by the tomb of the Cheval, Desdunes, and Lucille Soniat. The late Jake Hyman services to Eliza Jane Nicholson after she Frere families. The photographs were Kleindorf gave two prints by French became publisher of the Picayune. taken between 1984 and 1995. Maury A. Quarter artist Guy Livingston Woolley Whether Mrs. Nicholson accepted his Midlo contributed a group of pho- in memory of Mrs. Odile Baltazar and offer is unknown. tographs and other materials relating to former THNOC staff member Dale Charles A. Snyder gave a large framed WDSU-TV, K&B Drug Stores, Audubon Triche. Mr. Kleindorf also contributed oval photograph of his great aunt, Shirley Zoo, Volunteers in Government two enameled souvenir spoons dating Blossom Haas, taken between 1898 and (VIGOR), the Plaza in Lake Forest between 1909 and 1915; one depicts the 1900. Christopher Porché-West donated Shopping Center, and Pontchartrain newly constructed Supreme Court 18 of his photographs, including 12 from Beach Amusement Park. Building (called the Million Dollar his series of Mardi Gras Indians, as well as Portraits, photographs, and a painted Court House), while the other shows the scenes of the 1984-85 Louisiana World crest relating to the Soniat family come old Grunewald Hotel.

10 designs for the Mystic Club balls. Technology and the U.S. War College in Louis C. Bristow and Charles A. Washington, D.C. Owen was a sketch Bristow gave a large number of maps, artist, painter, and teacher, but he is pri- plans, oil field logs, and other papers marily remembered for his architectural relating to Louisiana and to Louis work. He joined with Collins Cerré Bristow and his activities in the oil Diboll, Sr., (1868-1936) to form the industry. Dr. Donald A. Pavy provided a Diboll and Owen architecture firm (1895-1936). The firm produced several noteworthy structures, including the criminal court building and jail on Tulane Avenue, , and the at , later replaced by an office building. Owen retired as a major general after commanding the First Daguerreotype of Louise Duralde, from the Soniat Louisiana Field Artillery donation (1999.61.9) (Washington Artillery) on the Mexican border in 1916 and the 141st Field Artillery in France in Postcard views of New Orleans come 1918-19. During his tenure in from a number of donors. Tom Carter Europe, Owen sent postcards home contributed 24 French Quarter street that filled two albums. The archi- scenes and views of markets and other tectural images serve as a travel buildings, dating between 1938 and diary and reveal Owen’s design 1966. Roy Flukinger gave a 1937 relief interests. His contributions to halftone postcard of the Main architecture are matched by a Waterworks Plant, and Jerome M. remarkable legacy of community Stedman provided two 1968 views of involvement in various civic organi- the International Trade Mart Complex. zations. The postcard albums are The Northern Indian Center for History the donation of Lloyd Young. donated a postcard of the interior of the Many important buildings in Jesuit Church on Baronne Street and a New Orleans have survived because view of Canal Street showing the Loew’s Postcard from Allison Owen’s World War I scrapbook: The Carpeaux of individuals who understand the State and Saenger Theaters. Both views Fountain in the Luxembourg Gardens, Paris. Owen wrote, importance of preserving tangible date from the 1930s. “This is the central feature of the big fountain and is the model links to the past. Roulhac Toledano Other donations are related to used by the architech for the two groups on our new Post office is a well-known preservationist and at home. It is very fine.” The building, now a federal court, is on Mardi Gras. Gerald Day gave a 1906 Camp Street in New Orleans. contributor to the New Orleans Rex krewe favor, and Milli Rouse donated Architecture series published by the a collection of invitations and dance Friends of the Cabildo and author cards from various Mardi Gras organiza- color poster, “What Really Happened,” of The National Trust Guide to New tions between 1888 and 1914 and an promoting his recent book on the assas- Orleans. Her donation of a linear foot of undated invitation to a musicale in sination of Huey P. Long. Local artist papers includes research files on various memory of Mildred Cobb Edrington. Bessie Mire McGhee, originally from properties, photographs, news clippings, Mrs. H. Hunter White, Jr., has donated Union (now Convent), Louisiana, has and publications. ball favors for the krewes of Apollo, donated four of her drawings. Scrapbooks document special inter- Atlanteans, Comus, Mithras, Momus, — Judith H. Bonner ests of the compiler while supplying a Mystic, Rex, and the Twelfth Night MANUSCRIPTS consolidated body of information. Mrs. Revelers. Dr. and Mrs. Thomas E. Weiss Donald Charles has donated five scrap- gave dies cast for Mardi Gras Born in New Orleans, Allison Owen books, ca. 1870s-1918, compiled by by H. Alvin Sharpe and other materials (1869-1951) graduated from Tulane Gustav Keitz and Rosa A. Keitz, the related to Sharpe’s life and career. Leo University (1888) and continued his donor’s great-grandfather and great aunt. Van Witsen donated 117 costume studies at the Massachusetts Institute of Gustav Keitz produced the earliest book

11 filled with news clippings of poetry and articles. The remaining four, arranged in thematic fashion, were probably com- plied by Rosa Keitz. Scrapbooks are use- ful research tools, but preservation is an archival challenge. They are often assem- bled on acidic paper with damaging adhe- sives that facilitate deterioration. Three recently acquired scrapbooks made by Irene Barrow of Roberta Grove Plantation in Houma, Louisiana, reveal her interest in Louisiana history. “A Portfolio of Old Plantation Houses Reflecting the Glory That Was Louisiana’s,” compiled in the 1890s, includes newspaper articles and a list of plantations and owners in each parish. The other two scrapbooks, dating from 1909 to the 1930s, include news clippings about significant New Orleans buildings. — M. Theresa LeFevre LIBRARY A recent donation of sheet music from Sister Mary Hermenia Muldrey of the local order of the Sisters of Mercy relates to several Collection holdings. According to Sr. Muldrey, Convent Chimes Reverie, composed in 1895 by W. T. Francis and published by Louis Grunewald, is dedicat- ed to Mother Austin Carroll who was the mother superior of the Convent of Mercy in New Orleans in the early 19th century. Described as charming and charismatic, Mother Austin Carroll established reli- gious communities all over the South. Carte d’une Partie de l’Amérique Septentrionale, included in Histoire des Troubles de l’Amérique Anglaise, 1787 (98-182-RL.4) This piece complements other items per- taining to Mother Carroll and W. T. pamphlet, Report of the Committee of the and Columbia Rivers. Francis. Two of these items connect both Commerce and Manufactures…to Employ Through Red River exploration, Jefferson individuals to the World’s Industrial and Persons to Explore Such Parts of the Province intended to provide a commercially viable Centennial Exposition (1884-85). of Louisiana. This report, a presumed transportation route to Santa Fe, to woo Report and Catalogue of the Woman’s “draft copy” by Samuel L. Mitchell, one of the region’s Indians to the American camp, Department of the World’s Exposition, Held Thomas Jefferson’s staunchest supporters, and to test the disputed western border at New Orleans, 1884–1885 lists 12 pieces advocates the exploration of certain remote with New . of Mother Carroll’s writings on display in and unknown parts of the Louisiana terri- Histoire Des Troubles De L’Amérique the literary section of the Woman’s tory, notably the headwaters of the Red, Anglaise, Écrite Sur Les Mémoires Les Plus Department of the Exposition. Francis’s , and Mississippi Rivers. It is per- Authentiques is a four-volume work that habañera pieces were arranged after he haps the earliest official printed advocacy charts the French participation in the heard the Mexican Military Band perform of the exploration of the Red River by the American Revolution, from 1768 at the Exposition grounds. United States. In Thomas Jefferson’s plans through the signing of the The Collection’s resources relating to for the exploration of the West, Red River in 1783. This rare work includes a large the have recently been expeditions were second in importance map of the eastern and southern United enriched by the acquisition of a rare 1804 only to Lewis and Clark’s investigations of States, north through a good part of

12 Canada, with a noteworthy inset of the INTERN UPDATE: DONORS territory between the mouth of the HARLES HOMAS Mississippi River and Florida. The map JULY–SEPTEMBER 1999 C T will be published in a future THNOC Adele and Eugene Suzanne T. publication, an historical atlas of Antoine Mestayer Louisiana. Comte de Rochambeau, the Arkansas State Maury Midlo commander in chief of the French forces University Wulf Nohring Mary Lou Benson Northern during the American Revolution, aided Jason Berry Center for in the preparation of Histoire Des Sarah V. Bohlen, in History Troubles. Rochambeau kept plans and memory of Oxford University maps of fortifications and troop positions Ernest C. Villeré Press prepared by the French army engineers. Borden Publishing Michael Patrykus An 1,800-item collection of Roch- Company Dr. Donald A. Ethan Bradley Pavy ambeau’s personal papers and effects are Dr. Patricia Brady Phaidon Press, available at the Library of Congress. Charles A. Bristow Inc. — Gerald Patout Louis C. Bristow Christopher ince the early 1980s, the Historic New Eric J. Brock Porché-West SOrleans Collection has hosted interns Richard and Marina Milli Rouse, in from a variety of institutions. During Campanella memory of Tom Carter Mildred 1999, interns came from the University of Mrs. Donald Cobb Edrington New Orleans, Loyola University New ON LOAN Charles Mirian S. Ruppel Orleans, Louisiana State University, Tulane Christianity Today, Estate of Yvonne University, and the Institut Universitaire he Historic New Orleans Collection Inc. Arnoult Ryan de Technologie de Dijon. The interns lends materials from the permanent Mr. and Mrs. St. Mary Parish receive a thorough introduction to a museum/ T William K. Landmarks, collection for specific periods of time only Christovich Grevemberg research facility. In addition, they are to other private or public museums, his- Gerald Day House Museum assigned projects that match their skills and torical, or educational agencies for use in Augusta Elmwood Kendall Shaw interests with the needs of the Collection. temporary exhibitions. These institutions Marcel Farnet, Jr. Sisters of St. Charles F. Thomas, the first intern must comply with the Collection’s security Elizabeth Nicholson Francis of the from the Loyola history department, Fischer Congregation of and environmental standards. Roy Flukinger Our Lady of worked at the Collection from August Gaye A. Frederic Lourdes through December 1992. After comple- Material from the collections will be John Geiser III Charles Snyder tion of his degree, Chuck was hired to included in the following exhibitions: James J. Jacobsen Joe Solis work on a project in the manuscripts Jackson Avenue Estate of Elise and division. Deciding on a career in infor- A History of African American Evangelical Lucille Soniat mation science, he pursued a master’s Congregation Jerome Stedman Photographers, Smithsonian Institution, Catherine C. Kahn Adam Steg degree in library science, concentrating in Anacostia Museum and Center for Jake Hyman Irma Stiegler archival administration, at the University African American History and Culture, Kleindorf, in Roulhac Toledano of North Carolina. During that period, February – June 2000 memory of University of New he returned to THNOC for a second Odile Baltazar Orleans, internship. Following his graduation in and Dale Triche Earl K. Long Culture and History of New Orleans, Mr. and Mrs. Library 1996, he returned to Louisiana as an Cultural Center of the Inter-American Thomas N. Leo Van Witsen archivist in the special collections divi- Development Bank, Washington, D.C, Lennox John E. Walker sion at Louisiana State University. March – April, 2000 Louisiana Arts and Joseph Seth He moved to Minneapolis in June 1999 Science Center Warner and now works as an archivist at the Treasure Houses, Louisiana Museums for a Louisiana Division Dr. and Mrs. University of . He finds the of the Arts Thomas E. New Millennium, selected sites in the Louisiana Literature Weiss work “truly rewarding.” “What could state of Louisiana, from May 2000 to Press Helen Wetzel be more important,” he says, “ than pre- September 2001 Bernice Manning Mrs. H. Hunter serving the true records of what we as a Bernard J. White, Jr. society do in our daily lives, in our busi- Louisiana Collects, Meadows Museum of Manning, Jr. WWL-TV nesses, and in our group activities?” Bessie Mire WYES-TV Art, Centenary College, Shreveport, McGhee Lloyd Young — Alfred E. Lemmon and Nancy Ruck Louisiana, March – June 2001

13 PUBLICATIONS STAFF Patricia Brady, “Carnival of Liberty: Lafayette in Louisiana,” Louisiana History; Judith Bonner, news column, Inside SEMC, and the New Orleans Art Review; John Lawrence, New Orleans Art Review. Articles in Cultural Vistas, Judith Bonner, Editors: John Magill, Mark Cave, Mary Lou Patricia Brady Eichhorn, Patricia Brady, and Siva Blake. Louise C. Hoffman Head of Photography: MEETINGS Jan White Brantley Chuck Patch, Museum Computer The Historic New Orleans Collection Carol Bartels Chuck Patch Network, ; Judith Bonner and Quarterly is published by the Historic New Mimi Calhoun, Southeastern Museums Orleans Collection, which is operated Conference, Birmingham; Judith Bonner, by the Kemper and Leila Williams IN THE COMMUNITY South Central Modern Language Foundation, a Louisiana nonprofit corpora- Chuck Patch, elected to a three-year Association, Memphis; Patricia Brady, tion. Housed in a complex of historic build- term, board of directors of the Museum Louisiana Historical Association board ings in the French Quarter, facilities are open Computer Network; Carol Bartels, to the public, Tuesday through Saturday, meeting; Pamela Arceneaux, presentation, elected vice-president/president elect of from 10:00 a.m. until 4:30 p.m. Tours of the Maritime Libraries Group; John Lawrence, Louisiana Archives and Manuscripts history galleries and the residence are avail- Oracle XVIII, Washington, D.C. Association. John H. Lawrence com- able for a nominal fee. pleted the Metropolitan Leadership Board of Directors: Forum fall series. Mrs. William K. Christovich, President John E. Walker Television appearances: Patricia Fred M. Smith Brady and Mary Louise Christovich, A Charles A. Snyder Grave Injustice, WDSU-TV, and the Meg Allan G. Henry Pierson, Jr., emeritus documentary produced by THNOC, Queen of the South: New Orleans in the Priscilla Lawrence, Acting Director 1850s, WYES-TV. Priscilla Lawrence, Bunny Hinckley The Historic New Orleans Collection emcee, WYES Art Auction 12; John 533 Royal Street CHANGES New Orleans, Louisiana 70130 Lawrence and Patricia Brady, television Bunny Hinckley has joined the (504) 523-4662 interviews, Queen of the South. [email protected] docent department. www.hnoc.org Elsa Schneider, Louisiana history lecture, women attorneys of Milling, ISSN 0886-2109 © 2000 IN MEMORIAM The Historic New Orleans Collection Benson, Woodward; Judith Bonner, lec- The Collection mourns the death of tures, “Hemingway and War” confer- Nellie Whisenhunt, who was a volunteer Additional photography by: ence, United States Air Force Academy, Dustin Booksh and Chelsea Viles in the manuscripts department during Colorado Springs, and Third Saturday the 1980s. presentation, THNOC; Pamela D. Arceneaux, slide lecture, history of pros- titution, National Electrical Contractors AT THE COLLECTION and American Society of Hematology; John Lawrence, Louisiana history exhi- bition committee, Inter-American Development Bank, Washington, D.C.; Sue Reyna, volunteer, the libraries at . Board Member Charles A. Siva Blake, Patricia Brady, Robin Snyder and Sherry Snyder, Goldblum, Amanda Plauché Jones, pictured at the reception for John Lawrence, Sue Laudeman, Mary the current exhibition Mees, Diane Plauché, and Kathy Slimp, Queen of the South: New Orleans in the 1850s volunteers, WYES Art Auction 12.

14 THE SHOP WATCH THE PAST COME ALIVE

HE DECADE OF THE 1850S WAS A GOLDEN ERA IN NEW ORLEANS — a time of opulent man- Tsions, grand hotels, riverboats, great fortunes, and elegant society, as well as epidemics and political violence, ending with the capture of the city during the Civil War. Step back into that dramatic past with a colorful video showcasing period views and new footage of the city and its gardens at their most beautiful.

QUEEN OF THE SOUTH: NEW ORLEANS IN THE 1850S includes inter- views with noted historians, architects, and authors and narrated excerpts from Thomas K. Wharton’s journal. Produced and written by Karen Snyder, original music by Sanford Hinderlie, narrated by MILLENNIUM MARDI GRAS NECKLACE John McConnell. $14.95 LIMITED EDITION reated especially for the museum ALSO: QUEEN OF THE SOUTH: NEW ORLEANS, 1853-1862, THE C shop of the Historic New Orleans JOURNAL OF THOMAS K. WHARTON tells — and shows through Collection, this limited-edition necklace of vintage images — the story of daily life in antebellum New Orleans. 300 is engraved with the year 2000. Essays by Samuel Wilson, Jr., Mary Louise Christovich, and Patricia Brady. It features three pendants in the colors of Hard-cover book, 320 pages, 200 black and white illustrations and 22 color plates. $39.95 Mardi Gras — purple, green and . The stones of hand-crafted, vintage pressed glass THE 1884 WORLD’S FAIR LED TO A FLOWERING OF CULTURAL LIFE in New Orleans that contin- are from old molds by master artisans in ued through the 1920s. Two extraordinary brothers — gifted painters and teachers — helped Europe trained in the style and techniques of revitalize the city as an artistic center, founding the Newcomb Art School and saving historic French designer, René Lalique. The faceted French Quarter buildings from demolition in the process. amethyst-colored heart in open setting with six fresh-water baroque pearls represents the BROTHERS IN ART: ELLSWORTH AND WILLIAM WOODWARD AND THEIR official song of Mardi Gras, “If Ever I Cease to ART IN THE SOUTH is a video rich with images of their luminous Love,” adopted in 1872. The green intaglio paintings and period video footage, as well as interviews with artists, (reverse cameo) of a royal personage is set in historians, Woodward students, and collector/donor Laura Simon an oval frame reminiscent of a popular watch Nelson. Produced and written by Karen Snyder, narrated by Lowell fob design of the 19th century. The fleur-de- Huffman. $14.95 lis is cast in red bronze and is symbolic of Louisiana’s French heritage. ALSO: COMPLEMENTARY VISIONS OF LOUISIANA ART is a lavishly The pendants are assembled on a ring illustrated overview of Louisiana art, showcasing the Collection’s fastened to a 32" chain of red bronze extensive art collection and Laura Simon Nelson’s donation of secured by a stylized bar clasp. important 19th- and 20th-century artworks. Interpretive essays by $125.00, plus tax and shipping. Order William H. Gerdts, George E. Jordan, and Judith H. Bonner. 96 page book, 80 color by phone (504) 598-7147 or visit our web site plates. New price: hard-cover, $29.95; soft-cover, $15.95 at www.hnoc.org.

Please send Name: Quantity Title Price Total Address:

City, State, Zip

Visa MasterCard Check or Money order Subtotal______Account Number: Shipping and Handling______Hardback: $4 for first book; $2 each additional Exp. Date Paperback & video: $2 for first item; $.50 each additional Taxes as applicable: Tax______Signature: 9% Orleans Parish THE SHOP AT THE COLLECTION 4% other La. Residents 533 ROYAL STREET, NEW ORLEANS, LA. 70130 Total Amount Due______(504) 598-7147

15 ANNUAL TEA CELEBRATES DONORS

Joan Brown Laura Simon Nelson Maclyn Hickey and Priscilla Lawrence

A trio of musicians played in the Counting House.

he third annual Leila Williams TTea on December 14 honored Collection friends who, through their donations of materials or volunteer time in 1999, contributed to the museum and its mission to preserve the history of New Orleans and the Gulf South.

Anne Strachan and John Lawrence Suzanne Ormond and Patricia Brady

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