Volume XXV, Number 3 Summer 2008 the Works of Z J. D. Edwards 1858 –1861

View of the Garden District from the roof of the The Historic Collection Quarterly 1 Chalmette fire tower at 1135 Washington Avenue (1982.32.9) View of the upriver side of the 500 block of Canal Street looking from the roof of the U.S. Custom House (1982.167.1)

2 Volume XXV, Number 3 — Summer 2008 2 Volume XXV, Number 3 — Summer 2008 Antebellum Photography as Seen through

J. D. EDWARDS

Detail, view of the Mississippi River looking from Bywater toward Algiers (1982.32.16)

n October 1, The Collection will unveil an At the time, the art of photography was a youth- exhibition of the earliest known printed ful 20 years old. Yet it had already undergone trans- Ophotographic views of New Orleans. Nine- formations its pioneers could not have foreseen. Early teenth-century photographer Jay Dearborn Edwards photographic processes—namely the daguerreotype, (1831–1900) made a few dozen photographs of ante- ambrotype, and tintype—produced unique images bellum New Orleans within an approximately four- in the camera. The mid-1850s brought a host of year span, from 1858 to 1861. A New Hampshire innovations, including shorter exposure times and the native, Edwards arrived in New Orleans in 1857 after ability to create images that, when viewed with the briefly residing in St. Louis. Where Edwards acquired proper equipment (a stereo viewer), presented convinc- his technical knowledge of the new art of photography ing facsimiles of a three-dimensional world. The most is unknown, but when he arrived in the Crescent City important advance of this period was the development he was already producing photographs and by 1860 of the wet-plate collodion negative process, allowing had established a studio at 19 Royal Street. for the production and distribution of multiple prints. Edwards’s photographs, made from glass negatives, could theoretically be distributed in numbers as great as demand required. This ability made Edwards radically different from earlier photographers in New Orleans. His views of the city could be widely distributed, per- mitting outsiders to see photographic images of New Orleans for the first time. Though reproducibility was a powerful attri- bute of the process used by Edwards, creating the negative was laborious work. Collodion, a form of nitrocellulose dissolved in alcohol and ether containing a salt (often potassium iodide), produced a tough film when dried. Silver nitrate, a light- sensitive chemical, was used to register the image. The process began with the photographer select- ing the subject, then composing and focusing the pic- ture on the ground-glass screen of a tripod-mounted camera. Once established by the photographer, the composition could not be changed without moving the tripod and refocusing the screen. At this point, the pic- ture had in effect been made but not yet recorded. The View of the Mississippi River levee (1985.238) The Historic New Orleans Collection Quarterly 3 photographer prepared a negative by selecting a glass plate and pouring a puddle of syrupy collodion onto it while holding the plate flat. Tilting the plate from side to side made the collodion flow across the surface, pro- viding more or less complete coverage. Once this was achieved, a second solution of silver nitrate was similarly applied. When working outdoors, as Edwards generally did, the application of the silver nitrate was made in a “dark tent” or other portable structure. The silver nitrate reacted with potassium iodide to form light-sensitive sil- ver iodide. The photographer loaded the plate, still wet, into a lightproof holder and inserted it into the camera, aligning it in the same plane as the image focused on the ground glass. The plate remained sensitive to light only View of the 100 and 200 blocks of South Claiborne Avenue in the present-day Central as long as the chemicals were damp. A slide was pulled to Business District looking from the corner of Tulane Avenue (1932.32.13) uncover the plate in its holder, the shutter was opened, and an exposure was made. The slide was then replaced and the holder removed from the camera. Retiring to the dark tent, the artist developed the plate and then washed, dried, and presumably evaluated it for success. The process was repeated for each additional negative. Prints were made by placing the dried nega- tive in direct contact with a piece of light-sensitive paper. Edwards probably used “salted paper”—paper made photosensitive by first coating it with a sodium- chloride solution and then with silver nitrate to produce silver chloride. The photographer placed the negative and paper in a frame that applied pressure, ensuring complete contact between the two elements. When exposed to light (usually sunlight), the negative “printed out” on the paper. A range of tones was pro- duced by the proportional transmission of light through the varying densities of the negative. The artist checked View of Esplanade Avenue looking from Royal Street toward Lake Pontchartrain the progress by lifting a corner of the paper from the (1982.167.11) frame. Once deemed sufficiently exposed, the print was removed and treated with chemicals (fixed) to prevent further development. After the print dried, the photog- rapher trimmed the work to its final size and pasted it to a mounting card for protection against creasing and tearing. Edwards chose a range of subjects as the focus for his arduously produced photographs. The forthcoming exhibition, A Closer Look: Photographs of Antebellum New Orleans by Jay Dearborn Edwards, 1858–1861, will pro- vide alternate viewpoints from which to interpret these rare works. The fall Quarterly will offer a more complete narrative of the exhibition. —John H. Lawrence with biographical information provided by the photographer’s great-grandson Jay Dearborn Edwards, professor of View of Washington Avenue in the Garden District looking from Magazine Street anthropology at State University toward Lake Pontchartrain (1982.32.4) 4 Volume XXV, Number 3 — Summer 2008 Jackson Railroad yard in present-day Central City (1982.32.6)

View of a steam-powered fire engine loaded with long ladders pulling out from the American Fire Company station at 715 Girod Street in the present-day Central Business District (1982.167.12)

The Historic New Orleans Collection Quarterly 5 s an increasing number of constant demand for Cramer’s guide- Americans followed the book was ignited. Of the area around lure of the West in the early 19th century, Cape Girardeau and Ste. Genevieve, in Athey found that the quickest and easiest present-day Missouri, the 1806 edition way to the new frontier was by river— noted that “though the inhabitants are especially the Monongahela, Allegheny, numerous, they raise little for exporta- Ohio, and Mississippi. Zadok Cramer, tion, and content themselves with trad- a Pittsburgh publisher and bookbinder, ing with the Indians and working a few recognized the pioneers’ need for infor- lead mines.” The same edition described mation about river navigation and the flooding of the Mississippi River: little-known western terrain. To meet “From the settlement of Pointe Coupee that need, Cramer produced one of the on the Mississippi to Cape Girardeau earliest and best known American river and reports, The Navigator was origi- above the mouth of the Ohio, there is guides, The Navigator. nally intended as a guide for settlers but no land on the west side that is not over- Cramer (1773–1814) learned the proved its worth for river traders as well. flowed in the spring to the distance of trade of bookbinding at an early age With the inclusion in the fifth edition eight to ten leagues from the river with in Washington, Pennsylvania, and (1806) of 28 crude woodcuts depicting from two to twelve feet of water. . . . The took this skill to the burgeoning fron- river obstacles, islands, and channels, eastern bank has in this respect a decided tier town of Pittsburgh in the spring The Navigator became an important advantage over the western, as there are of 1800. By June he had acquired a resource for early flatboatmen and keel- on it many situations which effectually small bookstore, offering a selection of boatmen, many of whom later made the command the river.” nearly 800 volumes, and announced his transition to steam-powered river craft. availability to produce blankbooks and Although he credited few specific provide other bookbinding services. sources, Cramer claimed that the infor- Cramer identified himself in advertise- mation was obtained from “the journals ments as a bookbinder and publisher; at of gentlemen of observation, and now this time, even in the larger cities of the minutely corrected by several persons eastern seaboard, most published books who have navigated those rivers for came from small establishments such as fifteen and twenty years.” The follow- his. Though he published a number of ing accounts may have been among his notable works, such as the first edition sources: Thomas Hutchins’s A Topograph- (1807) of Patrick Gass’s journal of his ical Description of Pennsylvania, Mary- experiences with the Lewis and Clark land, and Virginia (1778); Hutchins’s expedition, Cramer became best known An Historical Narrative and Topographi- for his almanacs and The Navigator. cal Description of Louisiana and West There are 12 known editions of The Florida (1784); Gilbert Imlay’s North Navigator published between 1801 and America (1797); Jedidiah Morse’s 1824. However, there appear to be no The American Gazeteer (1797); and extant copies of the 1801 edition; its Andrew Ellicott’s Journal (1803). existence is only alluded to by the 1802 After 1803, editions were edition entitled The Ohio and Mississippi filled with detailed information Navigator. Incorporating descriptions about the Louisiana Purchase ter- of towns, settlements, harbors, land- ritory; as a flood of immigrants marks, and distances between notable and speculators rushed into the points gleaned from travelers’ journals vast area, a pronounced and

6 Volume XXV, Number 3 — Summer 2008 In describing Plaquemines, in present-day Louisiana, The Navigator reports that “the whole lower part of the country from the English Turn, down- wards, is subject to overflowing in hur- ricanes, either by the recoiling of the river, or reflux from the sea on each side, and on more than one occasion it has been covered from the depth of from 2 to 10 feet. . . .” The guidebook reassures the reader that such calamities are not frequent. New Orleans is described as extending nearly a mile along the river with an extensive suburb on the upper In addition to the descriptive accounts provided by The Navigator, artistic renderings, such as the side. The houses nearest the river are two featured here, offer insight on river life in the 19th century. Top, Mouth of the Mississippi River, brick, with slate or tile roofs, and the 1834 (1973.39); bottom, On Ohio River, ca. 1845 (1972.31.19) rest of the houses are made of wood. The fortifications, originally defective, lashed their tops together, while others Other river guides competed with are in ruins. The river bank from New were split, twisted and torn from their The Navigator as its popularity declined, Orleans to Baton Rouge is lined with roots; the river itself appeared equally including J. C. Gilleland’s The Ohio and plantations situated within sight of one convulsed with the land.” The Missis- Mississippi Pilot (1820); Samuel Cum- another, most growing sugar, some cot- sippi River appeared to run backward ings’s Western Navigator (1822), some- ton, all having “excellent soil incapable for a short time, and its course changed times titled The Western Pilot during of being exhausted.” at numerous points along its length. its 30-year run; and George Conclin’s The Navigator reached the height of its success with the eighth edition (1814), which contained 360 pages. Subsequent editions gradually shrank in size, until publication ceased in 1824 after the last issue of only 275 pages. The 1814 edition contained accounts of the series of devastating earthquakes at New Madrid, in present-day Missouri, which began on December 6, 1811. “The earthquake continued at New Madrid by frequent returning shocks with the most tremendous and alarming effects for two or more months.” The inhabitants described feeling the after- shocks every 24 hours for a year after. “It threw down the brick chimnies [sic], shattered the houses, threw up the earth in some places, while it sunk in others; water spouted up through the cracks and holes of the earth in all directions; trees

The Historic New Orleans Collection Quarterly 7 New River Guide (1848), also issued under several titles over a span of 25 years. Charts of portions of the rivers were usually published in conjunction with federal plans for river improve- ments in the 1880s and 1890s, but by 1916 the government began making sets of river charts available to pilots on a regular basis. The Navigator and its com- petitors continue to provide researchers with descriptions of the landscape and river life from the early days of Ameri- can expansion. The 1811 and 1818 issues of The Navigator are on view in the current exhibition, Surrounded by Water, which continues on view through Sunday, September 21. The Navigator described the major landmarks of the Mississippi River, such as those shown here. —Pamela D. Arceneaux Top, Tower Rock on the Mississippi, May 13, 1854 (1974.25.30.196); bottom, Mississippi—Scenery between Lake Pepin & St. Croix River, Hermann J. Meyer, publisher, between 1855 and 1860 (1984.34)

8 Volume XXV, Number 3 — Summer 2008 Up c o m i n g Ev e n t s at t h e Wi l l i a m s Re s e a r c h Ce n t e r

410 Ch a r t r e s St r e e t

Te n t h An n u a l Ge n e a l o g y Wo r k s h o p Tr a c i n g Yo u r Ita l i a n He r i tag e Fr o m t h e Di r e c t o r Ju n e C. Dela l i o Board-certified genealogist and founder of the Italian Genealogical Group ost of you know that my Sat u r da y , Au g u s t 23 husband, John Lawrence, is 8:30 a m –12:00 p m Mdirector of museum programs at Registration fee: $35.00 The Collection. Recently, a close personal friend of ours visited, and as John and I h enthusiastically explained everything hap- pening at The Collection plus all the joys Se v e n t h An n u a l Le s Co m é d i e n s Fr a n ç a i s Le c t u r e and pitfalls of renovating our historic house Ma n o n Le s c a u t on Marengo Street, our friend remarked A discussion of the opera by Giacomo Puccini, based on the novel by the Abbé Prévost with surprise, “You two just live in the past, Dr. Qu i n n Pe e p e r don’t you?” Th u r s da y , Oc t o b e r 2 Unfortunately, some perceive the study 6:30 p m of history and the dedication to historic pres- ervation as being mired in the past. But, as stewards of The Collection, John and I actu- h ally see our work as focused on the future. Fi ft h An n u a l Fr a n c i s c o Bo u l i g n y Le c t u r e Although The Collection’s exhibitions and Sm o k i n g Ot h e r Me n ’s Pi p e s : Ga y o s o ’s programs highlight events of the past, they are presented so that we may benefit from Ne g o t i at i o n s at No ga l e s , 1793 the experiences of those who came before Dr. Pat r i c i a Ga l l o wa y us. Learning about our heritage helps us to Th u r s da y , Oc t o b e r 16 understand and appreciate who we are and 6:30 p m how best to build our future. Additionally, the behind-the-scenes work of The Collection utilizes modern La s t Ch a n c e t o Vi e w technology that allows us to present the past to you, our visitors and researchers. Our pro- Ne w Or l e a n s : A Se n s e o f Pl a c e cessing and systems staff members constantly at t h e Ne w Or l e a n s Mu s e u m o f Ar t create digital records that can then be made accessible. As this data increasingly becomes ust a few weeks remain to view work available online, it is linked in a worldwide Jby prominent New Orleans artists, context of knowledge. including Rolland Golden, Clarence The future is constantly on our minds, Millet, Noel Rockmore, and many whether we are planning facilities for long- more. New Orleans: A Sense of Place, term growth or cutting-edge technology for the third joint exhibition presented by information disbursement. Our board con- The Collection and the New Orleans tinually works with staff to plan for the next Museum of Art, showcases more than 40 25 years and beyond. Larger gallery space, works of art by over 30 artists. Offering anchored by the historic Brulatour build- ing across Royal Street, is our vision. The The Night Prowler, New Orleans by vignettes of life in New Orleans, A Sense Holger W. Jensen, 1930s (1999.91.4) of Place continues on view at NOMA Historic New Orleans Collection is here for through Sunday, August 31. our future! —Priscilla Lawrence

The Historic New Orleans Collection Quarterly 9 The Collection Launches a Major Book on Early Louisiana Furniture

ouisiana’s material culture—its architecture and decorative arts— L remains an endless source of fas- cination to scholars and collectors alike, the subject of an ever-expanding roster of publications, exhibitions, and confer- ences. And yet there has been no defini- tive study of the region’s furniture—until now. With great pride, The Historic New Orleans Collection announces a groundbreaking study, forthcom- ing in 2010. The volume will examine Louisiana-made furniture in its cultural and architectural contexts, from the mid- 18th through the mid-19th century. A project of this scope is a culmina- Acadian chairs altered to support an ironing tion of decades of work and experience: board by flattening the top slats. Note the when primary authors Jack Holden homespun Acadian textiles on the chair seat and the handmade clothespins and early flat iron on and H. Parrott Bacot brought the idea the board. From a private collection to The Collection in 2003, they had already been working with photogra- research has allowed them to identify serve as a “source and a stimulus” for pher Jim Zeitz for several years. Since trends in the region’s early furniture and further research. He cites as an example then, a distinguished team of experts— develop theories about its origins. The an article he and coauthor Cybèle Gon- furniture collectors, decorative-arts effort has been shared by a team of edi- tar recently published in The Magazine scholars, historians—has expanded on tors and researchers at THNOC, who Antiques: “The Butterfly Man of New their work, examining more than 140 continue to prepare the book for design Orleans: A Rare Group of Creole Style public and private furniture collections and printing. Armoires Identified.” More articles and consulting a panoply of published Dr. Holden, a noted Louisiana fur- by contributors have been selected for and archival resources. Their exhaustive niture collector, hopes the volume will inclusion in forthcoming publications. Dr. Holden, a pathologist, nurtured his expertise on early Louisiana furniture not in the library but in the field—by studying objects he was interested in acquiring. He and his wife, Pat, began collecting Louisiana furniture and other objects nearly 40 years ago. The family lives amid their extensive collection of Louisiana furniture and objects in a clus- ter of historic buildings—and a period garden—near Baton Rouge. They utilize most of their antiques just as their origi- nal owners did, with the exception of the textiles, which are too delicate, and the chamber pots (enough said). Illustration from Denis Diderot’s 18th-century Encyclopédie depicting cabinetmakers at Jessica Dorman, director of publi- work in France. Diderot’s illustrations have been an important source for identifying the cations, didn’t come to the project with French heritage of Louisiana’s furniture.

10 Volume XXV, Number 3 — Summer 2008 much of an interest in antiques (though her hometown newspaper—the Newtown, CT, Bee—publishes a nationally recog- nized antiques section). Nonetheless, she trusted that her doctoral training in Ameri- can Studies would be adequate preparation for editing the volume. “In the process of working on the book,” Dorman notes, “I learned something new. I learned about Creolization, about the merging of Euro- pean, African, Caribbean, and American cultures that took place in Louisiana. I realize now what a provincial view I’d had of America. I hope this book contributes to the rest of the country’s knowledge about this ‘other’ America.” In addition to a catalogue— featuring hundreds of full-color images and descriptions of an array of furniture forms— the book will be enriched by contextual This mahogany Creole-Style armoire is ornately essays on woods, hardware, cabinetmaking, inlaid in a variety of colors and patterns; even its connoisseurship, the import trade, and the interior belt of drawers and shelves are decorated. furniture of the Upper Mississippi Valley. Courtesy of John and Linda Sarpy The book has been adopted—and generously funded—by an enthusiastic group of sponsors. “Without the help of donors, I don’t know how a book like this one could get made,” Holden observes. “Coming from outside publishing, I had no idea how much work goes into such a project.” Rome, as they say, was not built in a day (or for a dol- lar). For those of you anxiously awaiting the book’s not-too-distant debut: we’re confident that your patience will be richly rewarded. —Sarah Doerries

This walnut cabriole-leg table epitomizes the Creole Style. From the Sebastian Louis Chêne Vert, restored by Cheryl and Wayne Stromeyer. Selections from their important Kleinpeter House Louisiana furniture collection are featured in the book.

The Historic New Orleans Collection Quarterly 11 Donor Profile Donor Profile Bill and Sally Reeves

ill and Sally Reeves don’t simply has lived there for 64 years. They were and has maintained an active writing live in New Orleans; they have introduced to each other at a meeting of career, which he balances with his civic Bdevoted their lives to studying the Friends of the New Orleans Public involvement. the city’s history. In Bill’s early work as a Library. While sitting together at the Bill and Sally are both utilizing The history professor, Sally’s work as an archi- meeting, they found they had much Collection’s resources for their current vist, and both of their extensive histori- in common. “We both had a passion projects. Bill is working on volume 10 of cal writings, The Historic New Orleans for history and we both loved New the New Orleans Architecture series for the Collection has been a central resource, Orleans,” Sally said. They married two Friends of the Cabildo and a maritime while serving as a place of enjoyment for years later and between them have seven history of New Orleans for the National the couple for many years. children and 15 grandchildren. Park Service. Sally is writing a history of “The Collection has evolved from Sally holds a master’s degree in Bernard Marigny and the Mandeville the best-kept secret in town to the archival management from the Univer- lakefront for the city of Mandeville. The most prominent leader in the historical sity of New Orleans and served as couple spends hours together research- community,” Sally said. She first discov- archivist at the New Orleans Notarial ing and writing, making the Williams ered The Collection when working there Archives for 15 years. After receiving a Research Center a frequent stop. “After as a docent in 1968. Forty years later, PhD in American history from Tulane all these years, we still love going to The she can still vividly recount the layout University, Bill taught at Xavier Univer- Collection.” of the History Galleries. “Visiting there sity. Additionally, he served as president —Rachel Gibbons was addictive for me. I love the place and of Louisiana Life Insurance Company have never stopped going back.” Bill’s search for rare documents led him to The Collection. “I write histo- ries of places where there is no history— Ha v e Yo u Co n s i d e r e d a Pl a n n e d Gi ft ? subjects that no one has written about before,” he said, mentioning his 25-page To better serve the community, The Historic New Orleans Collection is pleased report on the Labranche Wetlands, to offer the following planned giving materials free of charge: a marsh for which he wrote the first history. In his work, Bill has found the • Giving Through Life Insurance rare books and maps at The Collection • Giving Through Charitable Remainder Trusts to be an unparalleled resource. • Giving Through Your Will The explosive growth in program- • Giving Securities ming at The Collection in the last 10 • Giving Real Estate years and the number of people now • Giving Through Retirement Plans attending events motivates the couple, • Giving Through Gift Annuities members of the Laussat Society, to continue supporting The Collection. To receive materials or for more information about planned giving, please call “It’s the place where everyone wants to the development department, (504) 598-7109. go. There’s something for everyone— All inquiries are held in the strictest confidence and without obligation. whether it’s Spanish governors or the The Historic New Orleans Collection does not offer legal or tax advice. We Sugar Bowl.” encourage you to consult your legal and financial advisors for structuring a gift Both native New Orleanians, the plan that achieves your giving intentions and meets your particular financial Reeveses still reside in the St. Charles circumstances. Avenue home where Sally grew up—she

12 Volume XXV, Number 3 — Summer 2008 Donor Profile DONORS: January–March 2008

Dr. Douglas L. Adams Crozet Duplantier Judith A. Kron Dr. and Mrs. William D. Reeves Gail W. Adams Dr. John DuPont Mr. and Mrs. Alvin Lacoste Mr. and Mrs. James J. Reiss Jr. Frederick Adinolfi Dr. and Mrs. Valentine A. Earhart Nancy La Fonta de Saintegeme Gillian Richardson and Henry Sullivan Michael Adler Rodney Emmanuel Mr. and Mrs. Longer L. de La Gueronniere Douglas J. Roome Dr. Tlaloc S. Alférez and James C. Woods Mr. and Mrs. Jack V. Eumont Rosemary Lamousin Dr. and Mrs. Irving L. Rosen William B. Allin Fenner French Foundation Pamula Lanaux Mr. and Mrs. Jeff L. Rosenheim Lois Anderson Thomas E. Fernon Mrs. W. Elliott Laudeman III Evelyn S. Rucker Lucinda R. and Robert E. Anderson Fidelity Homestead Savings Bank Priscilla Lawrence Eva Augustin Rumpf and family Natalie Fielding Frederick Lee Lawson Suzanne and Gregory Rusovich Dr. and Mrs. Charles N. Aprill Mr. and Mrs. Frank P. Fischer Jr. Dr. Dale Leblanc Shelby Russ/Associated Office Systems James Armour Jerry G. Fischer and John G. Turner Michelle and Jason Leckert Susan and Ronald Salomon Mr. and Mrs. Robert D. Armstrong Mr. and Mrs. Harvey Ford Lyn Ledbetter-Davis and Jerry Davis Dr. Calvin Drew Sanders Jan Arrigo Richard W. Freeman Jr. Michael Ledet Ben Sandmel Arthur Roger Gallery Gregg John Frelinger Patty Lemèe Michael Sartisky, PhD Barbara W. Askew Maurice L. Frisell Justice Harry T. Lemmon and Judge Mary Dr. Sissy Sartor The Azby Fund Suzanne W. Fromherz Ann Lemmon in memory of Marti Speights Frederic S. Sater W. E. Baker Dr. Rusty Frye Mr. and Mrs. Edward N. Lennox Herbert L. Sayas Jr. Ann Wood Barnes Anne Gauthier Gary A. Lloyd Bunny Scherzer Marilyn Barnett Michelle Gaynor Dr. and Mrs. Samuel Logan Lauren Schug William M. Barnett John Geiser III Carolyn Long Annelies and Morris Sheehan Roberta Bartee Carol Gelderman Dr. Alfreo López-Santolino Nancy J. Sherman Joyce Benjamin and Russell Donnelly Eric Gernhauser John Magill Jane Sizeler Mr. and Mrs. Walter Watson van Johanna Dingeldein Gloede Diana Maier Joan and Royal Smith Benthuysen Jr. Mr. and Mrs. J. Malcolm Gonzales The Hon. and Mrs. Gary J. Mannina Logan Smith Sydney J. Besthoff III Doris Ann and Harold Gorman Fulvio Manto Olga and James Smoak Magdalen and Kenneth Bickford Michael E. Gowland C. D. Marshall Jr. Mr. and Mrs. Charles A. Snyder in Colonel Charles and Winnie L. Biggio Jr. Donald D. Gray Jane D. Maunsell honor of Mr. and Mrs. Ira M. Kohn Carol and Warren Billings Mr. and Mrs. James L. Griffin Diane B. Mayberry Margaret B. Soniat Mr. and Mrs. Tom Bissell Mr. and Mrs. Edward O. Gros Jr. Mr. and Mrs. Charles B. Mayer Mr. and Mrs. Thomas S. Soniat Edwin Foster Blair II James Emile Guercio Hazel B. McElroy Nadia St. Paul Moïse C. J. Blanda Bonnie Miller Gunsaulus Jack B. McGuire Frances Swigart Steg Dr. and Mrs. Thomas Bonner Jr. Dr. Robert D. Guyton Dr. Kenneth McLeod Jr. Mr. and Mrs. Maurice M. Stern William E. Borah Darlene Dauth Haik Pamela Meldrum Irma Marie Stiegler Mrs. Phillip Breitmeyer II Mr. and Mrs. E. Simms Hardin Milton E. Melton Stiletto Vodka Barbara E. Brewster Arthur Hardy Margit E. Mereykadar Fern Stine Prof. Harvey Brooks Katherine L. Harrington Sue Meyer Mr. and Mrs. George A. Stoddart Dr. Andrea S. Brown Kathryn A. Harrison Michael J. Rapier Investments Mr. and Mrs. Billy T. Sumner Dr. and Mrs. Robert N. Bruce Jr. Elizabeth S. Hassell Donald Keith Midkiff Joan P. Suter Mr. and Mrs. Victor H. Bruno Mr. and Mrs. Robert Hassinger Mr. and Mrs. Joseph O. Mikes Ellen B. Terrell Mike Bunn Haynie Family Foundation Milling, Benson, Woodward, LLP Mr. and Mrs. James W. Thornton Robert A. Burkhalter Ronald Hebert Marilyn Mislove Fred W. Todd Harold Burns The Helis Foundation Mr. and Mrs. F. A. Moore III J. Thomas Touchton Judith Fos Burrus Mr. and Mrs. Daniel R. Henderson Mr. and Mrs. Grover E. Mouton III Mr. and Mrs. Charles Tremoulet Anne Butts Keith G. Henry Julian Doerr Mutter Patricia Diane Tunmer Cahn Family Foundation, Inc. Maclyn Hickey Dr. M. Bert Myers and Mrs. Joel G. Myers Mrs. Bert S. Turner Mrs. John C. Calhoun Earl J. Higgins Jana Napoli Dr. Alfonso Vargas Gail R. Callan John M. Hill Marilyn James Neathery John E. Walker Georgia Chadwick Jane Hobson New Orleans Museum of Art Drs. Nell P. and William W. Waring Doris R. Chambers in memory of F. Beale Louise C. Hoffman Thomas W. Nielsen Sr. Mr. and Mrs. H. C. Wedemeyer Chambers Dr. and Mrs. Jack D. Holden Susan Norton Dr. Robert and Sharon Weilbaecher Chateau Sonesta Hotel Mona H. Hollier Roger H. Ogden Catherine Ranlett Weinstein Mr. and Mrs. William K. Christovich Karl Holzmuller Omni Royal Orleans Hotel Mr. and Mrs. Richard Werlein William C. Cook Lee Horvitz Brandy and Eddy R. Parker Elfriede Westbrook Mrs. Robert D. Cosgrove Mr. and Mrs. James Huger Lynne Parmenter Nora Wetzel Linzy Roussel Cotaya Mary Lynn Hyde Carol Layton Parsons Catherine A. Whitney Courtney-Anne Sarpy Fund Reed Isbell-Hobbs Mr. and Mrs. Theodore C. Patterson in Donald C. Wicks William R. Cullison III Francis H. James Jr. memory of Atty. A. P. Tureaud Sr. Walter Williams Peter J. Dandridge Kay and Trent James Allison H. Peña Trudy Williamson Lorna and Carl Danielsen Erik F. Johnsen Celeste M. Phillips Leroy E. Willie Estate of Eugenie L. Dart Mrs. Douglas Johnson David D. Plater Mr. and Mrs. Donald E. Wilson James Dart Max Johnson Ormonde Plater Edie and John Wilson Dr. Alicia G. Davis Margaret Jones Mr. and Mrs. Shepard Pleasants Jr. Frankie and John Wittenberg Gary DeMarcay William J. Kearney Jr. Ginette B. Poitevent James H. Wolfe Carl A. Dengel Monsignor Crosby Kern Nancy and Waldemar Pomiechowski Mr. and Mrs. Richard P. Wolfe Department of the Army, New Orleans Bettie Kerr Lana and Sam Pons Mr. and Mrs. J. Brison Woods District, Corps of Engineers Catherine J. Kidd Sylvia Todd Porteous Sally S. Zarinski Winston DeVille Mr. and Mrs. Robert J. Killeen Margaret Ann James Preator Diane K. Zink and Robert M. Becnel Anne and Lon Dickerson Susan and Paul Klein Phyllis Raabe and William Abbott Annette Zinn Dr. Testud Dominique Mr. and Mrs. Ken Kneipp Mr. and Mrs. Jonathan H. Ray Roger Drake Claude Kohler Dr. and Mrs. Richard J. Reed

The Historic New Orleans Collection Quarterly 13 Algiers Ferry landing, courtesy of the Louisiana Elysian Fields exit ramp off I-10, courtesy of the Department of Wildlife and Fisheries Louisiana Department of Wildlife and Fisheries E x c e r p t s f r o m Th e Co l l e c t i o n ’s Or a l Hi s t o r y Pr o g r a m Members of the Louisiana Department of Wildlife and Fisheries Share Their Experiences

ew Orleans has undergone tre- thousands; it is estimated that LDWF and rest (some agents had been work- mendous change in the three personnel pulled nearly 20,000 citizens ing for more than 20 hours straight), the Nyears since . from the floodwaters. However, the lack crowd became terrified and blocked the A significant percentage of the city’s pop- of transportation available to bring res- trucks, pounding on the sides of vehi- ulation has not returned, and thousands cued flood victims to shelters outside of cles. Some agents, though sympathetic of new residents have moved to the city. the city proved a major problem for the with the citizens, felt threatened. They The recovery effort has demanded opti- LDWF, particularly at the St. Claude radioed for backup and several LDWF mism and energy, leaving people little Avenue Bridge. vehicles arrived with sirens blaring. One time to record their storm experiences. On Monday afternoon, August 29, agent disclosed that another agency used The accuracy of the historical record in the LDWF team, as well as first respond- fire hoses to disperse the crowd. such a dynamic environment is at risk, ers from other agencies, began pull- LDWF agents did not return to the and it is the responsibility of institu- ing citizens from flooded homes in the St. Claude Avenue Bridge but engaged in tions such as The Collection to ensure Lower Ninth Ward and dropping them other critical rescue efforts throughout that evidence is gathered that will enable off on the St. Claude Avenue Bridge. the city, most notably the evacuations of future generations to accurately inter- Early in the operation, the Louisiana Lindy Boggs Medical Center and Tulane pret the events of August and Septem- National Guard picked up individuals Hospital, as well as the evacuation of ber 2005. To that end, The Collection from this location and transported them residents from St. Bernard Parish. St. has continued its oral history program, to the Louisiana Superdome. However, Bernard residents were transported by recently completing interviews with the at some point the guard pickups ceased, barge upriver to the Algiers ferry land- Louisiana Department of Wildlife and and the growing crowd became increas- ing, where LDWF personnel confronted Fisheries (LDWF). ingly restless and angry. a situation similar to that encountered LDWF agents and biologists For one LDWF agent, the turn- at the bridge. LDWF commandeered assembled in Baton Rouge on August ing point in the crowd’s mood came school buses to move the hundreds of 29, 2005, to prepare to travel to New when he engaged in a passionate argu- stranded citizens. Orleans as soon as the storm had passed. ment with a member of another agency Desperate, violent situations like The convoy, which included more than about what to do with the body of an the one at the St. Claude Avenue Bridge 120 boats, was delayed by structural- elderly woman. There was little that first occurred throughout the New Orleans integrity checks of the bridges along responders could do with the bodies of metropolitan area in the week follow- the route and navigational challenges. the deceased. The disagreement—and ing Katrina. The Collection’s oral his- By Monday afternoon the LDWF had the lack of dignity afforded the victim— torians hope to provide researchers set up extensive boat rescue operations, inflamed some individuals in the crowd. with a multitude of firsthand accounts taking over a New Orleans Fire Depart- Fights broke out, fires were started, and, to facilitate the study of these events. ment operation at the Elysian Fields exit as night approached, many became con- Individuals and organizations interested ramp off I-10 and establishing one at the cerned for their safety and that of their in participating in the oral history pro- St. Claude Avenue Bridge in the Ninth children and elderly relatives. gram are invited to contact Mark Cave Ward. Their quick response and tireless When the LDWF rescuers began at (504) 598-7132; [email protected]. efforts undoubtedly saved the lives of preparing to leave the bridge to refuel —Mark Cave

14 Volume XXV, Number 3 — Summer 2008 Ma r k Yo u r Ca l e n da r Fourteenth Annual Williams Research Center Symposium The Acadian Washboard Chaz Trio, Diaspora May 16

Saturday, January 31, 2009 Vavavoom, June 20 Omni Royal Orleans Hotel Coco Robicheaux, April 18 621 St. Louis Street Co n c e r t s i n t h e Co u r t y a r d Re t u r n Presented rain or shine at 533 Royal Street Admission is $10 at the door; free for THNOC members

Tr e m é Br a s s Ba n d Co c k ta i l s b y Bu ffa l o Tr a c e Di s t i l l e r y Mrs. Ambroise Le Blanc at her loom by Elemore Fr i d a y , Se p t e m b e r 19 • 5:30–8:00 p m Morgan Sr., 1940s (1976.139.130), gift of Leonard V. Huber With deep roots in the New Orleans jazz tradition, the Tremé Brass Band, rom 1764 through 1788, when Louisi- made up of young and old musicians, brings a fresh exuberance to the musical Fana was primarily under Spanish gover- genre, mixing elements of funk, soul, and modern jazz. nance, some 3,000 French-speaking Acadians settled in Louisiana. A popular conception of In g r i d Lu c i a a n d t h e Fl y i n g Ne u t r i n o s le grand derangement is that of a “straight Co c k ta i l s b y Sa z e r a c Ry e Wh i s k e y line” mass migration of Acadians from Nova Fr i d a y , Oc t o b e r 17 • 5:30–8:00 p m Scotia—whence they were expelled by the British—to the prairies, bayous, and marshes Lucia grew up performing in the streets of New Orleans with her family’s of Louisiana. The diaspora, in fact, was much traditional jazz band. They traveled the world together, from the circuses more complex. In fits and starts over a period of Mexico to the streets of Paris. Lucia and her current group, the Flying of nearly 25 years, Acadians made their way Neutrinos, have been touring, writing, and recording together for at least two from Canada to Louisiana, with detours and decades. For more information, visit www.flyingneutrinos.com. peregrinations taking some through France, the British colonies of the eastern seaboard, Th e r e s a An d e r s s o n or the islands of the Caribbean. Once situ- Fr i d a y , No v e m b e r 21 • 5:30–8:00 p m ated in southwest Louisiana, the Acadians established a lifestyle, foodways, and culture Andersson’s eclectic brand of roots-informed rock—which can segue from that enriched and helped to define the region. bluegrass hoedowns into swirling, Sonic Youth–style distortion jams—has The forthcoming symposium will address garnered her OffBeat’s Best of the Beat award for violin for six consecutive issues that are fundamental to appreciating years and the 2003 Big Easy Award for Best Female Artist, as well as a regular nearly two and half centuries of Acadian slot at the New Orleans Jazz & Heritage Festival. For more information, visit presence in Louisiana. Please plan to join us. www.basinstreetrecords.com/artists/theresa-andersson.html.

The Historic New Orleans Collection Quarterly 15 his passport, issued by the U.S. legation Greenwood, both built in Kennebunk, acquisitions in Paris, and correspondence regarding Maine. Comprising a record of mon- claims against the Spanish government. ies paid and received, Captain Nason’s The Historic New Merieult, whose 1792 townhouse serves journal indicates crew wages as well as Orleans Collection as the primary site of The Collection’s supply costs. He notes the ports of call, encourages research in the museum programs, changed his name including Elsinore, Denmark; Cron- Williams Research Center from the French (Jean-François), to the stadt, Russia; Bristol, Liverpool, and at 410 Chartres Street from Spanish (Juan Francisco), to the English Swansea, England; and Cadiz, Spain. 9:30 a.m. to 4:30 p.m. (John Francis) according to political Nason was also captain of the Tuesday through Saturday expediency. American bark Hawthorne. Built in (except holidays). Cataloged materials The letters of Louis Marie Achille Kennebunk in 1867, the Hawthorne available to researchers include books, Trouard, another collection highlight, ran ashore on the night of February 11, manuscripts, paintings, prints, draw- cover a wide range of subjects. A captain in 1879, during a voyage from Singapore ings, maps, photographs, and artifacts the Spanish militia in Louisiana, Trouard to Boston. Confused and lost, the cap- about the history and culture of New discussed the political events of the day tain and the crew disembarked the ves- Orleans, Louisiana, and the Gulf South. and individuals in New Orleans—includ- sel on two boats. Two days later, one of Each year The Collection adds thou- ing Pierre Clément Laussat, colonial pre- the boats sunk and two sailors drowned. sands of items to its holdings. Though fect, and Manuel Juan de Salcedo, the last Nason and the others were rescued by a only selected gifts are mentioned here, Spanish governor of Louisiana. Trouard’s passing British vessel. the importance of all gifts cannot be letter to Joseph Xavier de Pontalba, under The Collection recently acquired overstated. Prospective donors are in- whose military command he had served, original music manuscripts by first- vited to contact the authors of the acqui- is particularly informative about the sta- generation German-American composer sitions columns. tus of life on the “German Coast.” and music professor Joseph Alphonse Gernhauser (d. 1935). The manuscripts complement and augment The Collec- Manuscripts tion’s other German-related holdings, For the first quarter of 2008 (January– such as the Deutsches Haus Collec- March), there were 42 acquisitions total- tion, spotlighting contributions that ing approximately 30 linear feet. the German community has made to The Collection recently acquired a local musical history and culture. For group of letters and documents, many of many years, Gernhauser was the organ- which date from the time of the Louisi- ist for St. Stephen’s Catholic Church in ana Purchase. Written by local residents Uptown New Orleans, where he played as well as French and Spanish officials, some of his own liturgical compositions the letters document activities in New on a Pilcher pipe organ. Orleans at a critical point in history. —Mary Lou Eichhorn Highlights include letters written from Joseph Vinache, director of fortifica- tions, to family members and friends in Curatorial Paris; correspondence from members of the Greek community in New Orleans to Captain William B. Nason Jr., ca. 1870 For the first quarter of 2008 (Janu- (2008.0014) relatives in Hydra; letters documenting ary–March), there were 37 acquisitions, the commercial exchange between New totaling more than 250 items. Orleans, Paris, Bordeaux, Marseilles, The journal of Captain William B. Two donations supplement The Col- and Nantes; and documents concerning Nason Jr. provides a glimpse into the lection’s holdings of Louisiana prints , French, and Spanish ships expenses and staffing of New Orleans– and drawings. William R. Cullison III in New Orleans. based sailing vessels from 1858 to 1867, has donated a group of works by well- Of particular interest are letters a time period that includes the city’s known local artists, including Angela from merchant Jean-François Merieult occupation by Federal forces during the Gregory, James Lamantia, and Ellsworth concerning the New Orleans commu- Civil War. Captain Nason was master of Woodward. Prints by Xavier de Calla- nity’s reaction to the Louisiana Pur- at least two vessels registered at the Port tay and Glenn Miller are gifts of John chase. The Merieult materials include of New Orleans, the Ossippe and the Geiser III.

16 Volume XXV, Number 3 — Summer 2008 Dr. Kenneth McLeod Jr. has donated Joseph John Davilla, a local com- a group of architectural drawings by poser of popular music, issued a song architect James Gallier. Covering the entitled “The Mysterious Axman’s Jazz” years 1834 to 1851, the drawings pro- or “Don’t Scare Me Papa.” Little is vide an overview of Gallier’s prolific known about Davilla, who died in 1957 career. Among the buildings represented at the age of 73. He is represented in are the city hall of the Second Munici- THNOC’s William Russell Jazz Collec- pality (Gallier Hall), the Merchants tion by his composition “Give Me Back Exchange (now demolished), and the My Husband, You’ve Had Him Long Canal Street residence of Dr. William Enough.” Although “The Mysterious Newton Mercer. The donation includes Axman’s Jazz” is mentioned and even reduced-scale floor plans and full-size pictured in sources recounting the story drawings for capitals, friezes, and other of the axman murders—such as Gumbo architectural ornamentation. (2008.87) Ya-Ya and Ready To Hang: Seven A portrait of Anne V. Sincer (Mrs. Famous New Orleans Mur- George Holt Hyde) painted by an ders—there are no institu- unknown artist in the early 1870s is the tional cataloging records in gift of Mary Lynn Hyde. OCLC/WorldCat indicating —John H. Lawrence that the sheet music is housed in a repository. Nor is there any indication that a recording LIBRARYLibrary of the piece exists. The Collec- For the first quarter of 2008 (January– tion has been asked on sev- March), there were 40 acquisitions, eral occasions about this sheet totaling 45 items. music and has been searching From May 1918 through October for it for years. Therefore, it 1919, New Orleans was gripped by a is with great pleasure that the grisly series of murders, which remain library adds this piece to its unsolved. The victims, mostly Italian sheet music holdings. grocers, were attacked at night by a Between 1816 and 1818, mysterious ax-wielding intruder who Johann Ulrich Büechler traveled escaped, leaving almost no clues. At from Baltimore to Pittsburgh least six people were killed, and those and through the Caribbean. who were wounded but recovered could In an 1819 published account only describe a heavyset dark man. The of his journeys titled Land-und axman usually broke through the doors Seereisen eines St. Gallischen Kan- of his victims’ homes with a chisel, and tonsbürgers nach Nordamerika und often perpetrated the crime with an ax Westindien…, Büechler describes found on premises. On March 14, 1919, the Ohio and Mississippi rivers nature, and the survival of any to the the Times-Picayune published a letter to and pioneer settlements along the way. present is rare. The recent acquisition the editor from an individual claiming Büechler reports that the area from of a broadside dated February 27, 1847, to be the axman. In the letter he states, Baton Rouge to New Orleans is crowded adds to the library’s performing-arts “They have never caught me and they with beautiful homes, churches, and holdings. The document announces never will.” He announces a plan to cotton and sugar mills. He comments a farewell benefit performance at the attack again at 12:15 a.m. the follow- extensively on slavery, the varying rela- second St. Charles Theater for an actor ing Tuesday—St. Joseph’s night—but tionships among the races, and everyday identified only as Mr. Anderson. The notes that he is very fond of jazz music life in the busy city of New Orleans, entertainment that evening included and will spare anyone in a jazz band or where he stayed before continuing on to Shakespeare’s The Taming of the Shrew; playing jazz music that night. Not sur- Havana. a piece entitled Lady of Lyons or, Love prisingly, jazz parties were quickly orga- Nineteenth-century theater broad- and Pride; and a concert by the “Great nized, and cafés and bars all over town sides advertising a particular bill of fare Violinist, Sivouri.” were crowded that evening. for a given evening are ephemeral in —Pamela D. Arceneaux

The Historic New Orleans Collection Quarterly 17 Staff The Collection Travels to St. Louis and Pu b l i c at i o n s the Creole Corridor Mark Cave, Oral History Review (winter-spring 2008); Archival Out- look (November/December 2007).

Ch a n g e s Amanda McFillen, museum programs assistant.

Ne w Staff Kristin Condotta, project personnel, Vieux Carré Survey project; Rachel Gibbons, publications assistant; Tony Rodgers, project personnel, prepara- Back row, left to right, Bill Christovich, Dan Gravens (of the Missouri Botanical Garden), Fred tion department. Smith, Craig Schnexnayder, Roland Schnexnayder, Burl Salmon, Priscilla Lawrence, Susie Hoskins, Alfred Lemmon; front row, left to right, Mary Lou Christovich, Joan Lennox, Pat Smith, Betty Lou Vo l u n t e e r s Jeffrey, Ginette Poitevent, Merlyn Weilbaecher, Kathy Slimp, Mary Langlois, Martha Beveridge, Loretta Jennie Bryant, Robert Freeland, Clark; not pictured, Courtney-Anne Sarpy, Walker Ronaldson, Benjamin Crosby, John Lawrence and Elizabeth Ogden Janke, docent department. n the spring, a group of friends of The Collection and board and staff members In t e r n s traveled the “Creole Corridor” of Missouri and Illinois, an area extending from the Mary Katherine Benrud, Tulane Uni- Iupriver communities of St. Louis and Cahokia to Kaskaskia and Ste. Genevieve versity, registration department; Cath- downriver. Home to the largest grouping of extant French-colonial architecture in erine (Cath) Cain, Ryerson University the United States, the corridor shares many features of Louisiana’s cultural heritage. in Toronto, Canada, curatorial depart- Highlights of the tour included visits to the Creole archives and collections at the ment; Elena DiGrado, Middle Ten- Missouri History Museum, The Saint Louis Art Museum, Tower Grove Park, and Ste. nessee State University, Vieux Carré Genevieve. Trip participants are pictured here at the Missouri Botanical Garden. Survey project; Emily Klyza, George- town University, library department. h In t e r n at i o n a l Ex c h a n g e Printmaking in New Orleans Wins Award The Collection and the École natio- nale des chartres in Paris—a school Printmaking in New Orleans has received an honorable mention in the Best Book that prepares chief archivists, librar- category of the Mary Ellen Lo Presti Art Publication Awards. The LoPresti Awards ians, and curators—are partnering on a have been presented annually for 23 years by the Art Libraries Society of North three-year summer exchange program. America/Southeast Chapter. This year Louis Jaubertie, a student at the École, is interning at The Collec- h tion, and Erin Greenwald, exhibitions Recipients of the Arts Council’s Community Arts Awards editor at The Collection, is conduct- ing research in Paris, Brittany, and Provence.

In Me m o r i a m The Collection mourns the loss of Roland Schexnayder, a volunteer in the docent department, who died on July 6, 2008. Roland and his son Craig (also a volunteer) were regular participants in THNOC’s study tours. Roland’s The Historic New Orleans Collection was in good company as one of six recipients of the Arts Council’s generosity and jovial manner will be 2008 Community Arts Awards. Pictured, left to right, are Ricky Graham, David Morelock, Terrence greatly missed. Blanchard, Gene Koss, Priscilla Lawrence, and Donald Harrison Jr. The awards were created by artist Michael Cain of Studio Inferno. 18 Volume XXV, Number 3 — Summer 2008 THE SHOP

he Shop at The Collec- Editor tion is pleased to offer Mary Mees Garsaud Director of Publications T ties from the new Pelican Jessica Dorman Coast Neckwear line. Produced by Photography Keely Merritt a New Orleans family, the neck- Head of Photography wear features a range of regional Jan White Brantley subjects including shrimp, oysters, Design Theresa Norris pelicans, alligators, and magnolias. The Historic New Orleans Collection Quarterly is published by The The company donates 20 percent of Historic New Orleans Collection, which is operated by the Kemper and Leila Williams Foundation, a Louisiana nonprofit corporation. Housed the proceeds from the sale of each in a complex of historic buildings in the French Quarter, facilities are necktie to America’s WETLAND open to the public, Tuesday through Saturday, from 9:30 a.m. until 4:30 p.m., and Sunday, from 10:30 a.m. until 4:30 p.m. Tours of the Foundation, an organization dedi- History Galleries, the Williams Residence, and the architechure of the cated to “raising awareness of the buildings and courtyards are available for a nominal fee. Board of Directors impact of Louisiana’s wetland loss Mrs. William K. Christovich, Chairman and increasing support for efforts Charles Snyder, President John Kallenborn Fred M. Smith to conserve and save coastal Loui- John E. Walker, Immediate Past President Drew Jardine Hunter Pierson Jr. siana.” The silk ties are handmade Alexandra Stafford and sell for $65. Please visit www. Priscilla Lawrence, Executive Director hnoc.org or call (504) 598-7147 The Historic New Orleans Collection 533 Royal Street to order this distinctive neckwear. New Orleans, Louisiana 70130 (504) 523-4662 [email protected] • www.hnoc.org ISSN 0886-2109 © 2008 The Historic New Orleans Collection

Be a Part of Louisiana’s Future by Helping to Preserve Its Past… Become a Member of The Historic New Orleans Collection Your generous support funds research, educational outreach, award-winning publications, and internationally renowned exhibitions.

Membership has its benefits… In addition to preserving Louisiana’s founder $35 laussat society $1,000 Membership—at all levels— past, your membership confers valuable Full membership privileges, Full membership privileges; carries benefits for the entire house- benefits, including: as outlined special gift; private, guided hold: a single individual or a couple, tours of The Collection; • Subscription to The Collection’s merieult society $100 along with any children under age free admission to all evening donor newsletter Full membership privileges; 18. For more information, please lectures presented by The • 10% shop discount special gift visit our website at www.hnoc.org Collection; special Laussat or call the office of development at Unlimited guided tours of the • mahalia society $250 Society receptions and (504) 598-7109. All inquiries are history galleries, Williams Full membership privileges; tours; annual gala evening confidential and without obligation. Residence, the architecture of special gift; private, guided bienville circle $5,000 THNOC’s buildings and court tours of The Collection Full membership privileges; yards, and current exhibitions jackson society $500 special gift; private, guided (during regular business hours) Full membership privileges; tours of The Collection; • Admission to the Concerts in the special gift; private, guided free admission to all lectures Courtyard series tours of The Collection; and conferences presented • Members-only trips, events, and free admission to all evening by The Collection; special exhibition previews lectures presented by The member receptions and Collection tours; annual gala evening; • Recognition on The Collection’s private luncheon with the donor wall executive director The Historic New Orleans Collection Quarterly 19 Ed u c a t i o n a l Ou t r e a c h Up d a t e : FAMILY DAY The Collection’s annual Family Day again drew hundreds of children and adults. This year’s festivities, which expanded across Royal Street to the recently acquired Brulatour House, highlighted the current exhibition, Surrounded by Water, and the importance of preserving Louisiana’s wetlands. Participants enjoyed music by the Lost Bayou Ramblers; live wetland creatures; presentations by the U.S. Coast Guard, National Park Service, and the estuarians of Save America’s Wetlands; gallery talks by riverboat captain Clarke “Doc” Hawley; an appearance by Mark Twain; and arts and crafts.

Kemper and Leila Williams Foundation THE HISTORIC NEW ORLEANS COLLECTION Nonprofit Museum • Research Center • Publisher Organization 533 Royal Street • New Orleans, Louisiana 70130 (504) 523-4662 • Visit The Collection on the Internet at www.hnoc.org ADDRESS SERVICE REQUESTED