New Orleans Photography Exhibit Opens

Ames Crevasse, 1891 (1974.25.11. 31) Light & Time NEW ORLEANS PHOTOGRAPHY EXHIBIT OPENS Like many other institutions in this beginning of photography is 1839 when important anniversary year for the inven Louis Jacques Mande Daguerre introduced tion of photography, the Collection is com to the world his invention of a permanently memorating the event with an exhibition fixed photographic image. New Orleans's from its holdings. Attempting to compress association with that medium has been one 150 years of history into approximately 75 which has existed since the very beginning: images is the aim of the current exhibi in the century-and-a-half since that time, tion, Light & Time: 150 Years of New New Orleans has been blessed with dozens Orleans Photography. of high-quality photographers. · The date commonly recognized as the The photographic holdings of the Historic New Orleans Collection reflect in his lifetime-will be shown. this diversity and quality. Within Choosing works by Jay Dear the curatorial division, there are born Edwards was also a dilemma. collections of regional, national, Edwards's antebellum views of and even international impor New Orleans not only provide the tance. Photographs from commer earliest images of the bustling cial studios, commissioned works 19th-century metropolis; they are of a documentary or artistic also excellent examples of the salt nature, and single prints from this ed-paper process of photography. century and the second half of the The tolerance of such works to last provide the particulars of peo extended periods of exhibition is ple and places as only a photo very low. Consequently, frequent graph can. changes of the Edwards images Light & Time mirrors the hold will be made during the exhibi ings of the photographic collec tion. A visitor might see steam tions. Limited exhibition space boats at the levee on one visit, a and an embarrassment of riches view out Esplanade Avenue on make choices of what to exhibit another. difficult indeed. For this reason Portraits will also be among the and to provide conservation mea works shown. An elegantly posed sures-Light & Time will present Captain Alexis Casmir Dumestre a changing exhibition in the is the subject of one daguerreo Congressman W. J. Blackburn by Williams Gallery. Instead of show type. The daguerreotype -its Julian Vannerson (?), ca. 1858 (75- 232-L) ing only one example of Clarence image of mercury amalgam rest Laughlin's work, about a dozen ing tentatively on a polished sheet photographs by this important of silver-plated copper-was the artist will be on view. Some of his first photographic process that though no certifiable Lion daguer "color experiments"-Laughlin's New Orleanians would have seen. reotypes are known to exist, the fusion of painting and photogra It was introduced in early 1840 by exhibition contains later examples phy which were rarely displayed Jules Lion, a lithographer. Al- by Felix Moissenet and Edward

Submarine, Bayou St. John by Ernest J . Bellocq be tween 1901-05 (1988.19.2)

2 Architect Richard Koch (1889-1971), gener ous donor to the Collection, was the direc tor of Louisiana's Historic American Build ings Survey sponsored by the VVork s Progress Administration during the 1930s. His photographs, contained in the survey, reveal a sensitive and talented photogra pher whose work included plantations and rural cabins, as well as urban architecture. This year marks the centennial of Mr. Koch's birth.

Girod House by Richard Koch, 1930s (1985.120. 71)

Jacobs, creator of the Dumestre philanthropist Margaret Haugh opment was responsible for the portrait. ery, in its original frame, is one of extreme popularity of the carte-de Supplanting daguerreotypes the albumen prints chosen for the visite (photographic calling card) were ambrotypes (made on glass) exhibition. Also included are ante and the stereograph. Still other and tintypes (made on black-lac bellum salted-paper prints, includ developments later in the 19th quered iron). Ease of preparation ing those by Edwards and por century led to the production of and the lesser expense of the traits of Louisiana congressmen; the first flexible films for taking materials and finished product commercially produced cyanotypes pictures and to the introduction of made these photographic process (o r blueprints) in the form of a the Kodak camera, meant for ama es universally available. business and commercial directo teur photographers. Some early Apart from the way the subjects ry; and crayon enlargements. All Kodak photographs made at Evan of the photographs chronicle the of these serve to underscore not Hall plantation will be displayed. area's appearance, the technologi only the photographic look of New The 20th century did not pro cal developments which ran ram Orleans at any given time, but the duce such a range of processes as pant through the medium's way that advances or variations in those encountered in the 19th cen progress in its first 50 years are the medium were accepted and tury. By far the greatest number of amply represented in the Collec practiced in the Crescent City. photographs in 20th-century col tion's photographic holdings. Exam Among the technological ad lections are gelatin silver prints ining the forms that this technology vances in photography were the the ordinary black and white pho took is another theme of the exhibi perfection of the negative/positive tograph with which so many peo tion. From one-of-a-kind daguerreo process allowing many prints to be ple are familiar. There are small types, ambrotypes, and tintypes to made of the same subject; the groups of color work in the Collec ubiquitous albumen-print pho switch from paper negatives to tion's holdings as well, including tographs in the form of carte-de glass negatives, allowing for finer those in the form of slides, chro visite and cabinet photographs, detail; and the introduction of mogenic color prints, and dye the major scientific milestones albumen paper, made from the transfer prints, all of which will be which led to today's photography whites of eggs, whose smooth included in the exhibition. are in evidence. An especially glossy surface rendered every An important role that photog impressive portrait of 19th-century nuance of the negative. This devel- raphy has played is that of making

3 Douglas Tire Co. by DanielS. Leyrer, 1940s (1981.324.3.236) THE HISTORIC NEW ORLEANS images available for nearly every and Laughlin. ~l COLLECTION one to see and to evaluate. This The contemporary acquisitions m impact was further amplified tend to build on strengths already ~] NEWSLETTER when ways of printing photo present in the pictorial holdings, Editors: Patricia Brady, graphs for mass reproduction in rather than to explore areas which Louise C. Hoffman books, magazines, and newspa would serve to compete with the Head of Photography: Jan White pers were perfected. One section of strengths of other local institu Brantley the exhibition, organized by Jill tions. Befitting the nature of a The Historic New Orleans Collec Roberts, curatorial cataloging coor museum dedicated to the preser tion Newsletter is published quarter ly by the Historic New Orleans Col dinator, presents some of the ways vation and display of regional his lection, which is operated by the Kem in which photographs have been tory, the emphasis of the photogra per and Leila Williams Foundation, a Louisiana non-profit corporation. reproduced, from the all-but-dis phy collections tends to be content Housed in a complex of historic build continued collotype to the ever ings in the French Quarter, facilities and not concept. are open to the public. Tuesday present halftone. If there is an underlying theme through Saturday, from 10:00 a.m. until 4:45 p.m. Tours of the history The Collection's photographic to the exhibition, it is change-the galleries and the residence are a vail holdings represent a growing por changing city and region, chang able for a nominal fees. tion of the curatorial division. ing technology, and certainly the Board of Directors: Appropriate acquisitions by con Benjamin W. Yancey, President changing of items during the Mrs. William K. Christovich temporary photographers are course of the display. G. Henry Pierson, Jr. Francis C. Doyle made to complement or to expand Light & Time, which opens John E. Walker upon the historical images. These October 25, will be on view contemporary works come from through March 1990. Dode Platou, Director commercial studios-the Charles The Historic New Orleans Collection - John H. Lawrence 533 Royal Street Franck and Sam Sutton collec New Orleans, Louisiana 70130 tions; from free-lance profession (504) 523-4662 als specializing in documentary or ISSN 0886-2109 editorial work-Michael P. Smith © 1989 and Rick Olivier; and from photo The Historic New Orleans Collection graphic artists-Doris Ulmann

4 From the Director

Thomas Bonner

Collections are as varied as children and just as demanding. Lecture at THNOC They need attention, particularly large photographic collections. The fourth lecture held in con and how this experience affected What comes to my mind are the junction with a THNOC exhibition the stories they told. The writers Charles Franck negatives and was held on Sunday afternoon, discussed were Lafcadio Hearn, photographs, numbering over September 17. Dr. Thomas Bon Mark Twain, William Faulkner, 40,000, a jumble of disorganized ner, professor of English at Xavier and Walker Percy. images at the time of acquisition. University and specialist in south To be included on the mailing We spent months culling and sort ern literature, lectured on the list for subsequent lectures, please ing through the negatives of New influence of New Orleans on four call Elsa Schneider at 523-4662. Orleans views, people, and build 19th- and 20th-century writers ings; the next step was to hire a photographer to make archival quality prints from selected nega tives, 7,500 in all-a project that World War II Material Sought lasted three years. In contrast, Clarence Laughlin's collection-40,000 prints and neg atives, a 17,000 card-catalog ~ i·&c index, a book manuscript, and cor respondence-was all carefully identified and organized, accord ing to his own system. Now we are adapting his system to fit into the curatorial organizing plan at THNOC. Some years ago I spent a fourth of-July weekend in San Francisco on a mission to acquire another important collection. Stuart Lynn Servicemen in USO hall, 119 Carondelet St. by Charles Franck had just given us his photographs (1979.325.4080) of New Orleans, including his neg atives and indexing system. This The year 1991 will be the 50th Because World War II was so generous gift was easily adapted anniversary of the United States's important in shaping the growth to our record keeping. entry into World War II. On the of present-day New Orleans and A group of Dan Leyrer's nega home front the war caused im Louisiana, the Collection is gath tives, donated by one of his friends, mense social, political, and eco ering a significant collection of proved to be a treasure-and one nomic changes: women assumed manuscript material reflecting the that required a great deal of orga jobs that men had previously held, war's impact on the area and its nization. The negatives are cur new industries developed, people. Individuals with letters, rently being sorted. regionalism and isolationism were diaries, and other accounts wish These photographic collections, broken down. An entire folklore ing to contribute to this project large and small, add immeasur developed during the war about are urged to get in touch with the ably to the understanding and individuals and events. At war's manuscripts division and to offer enjoyment of our history. They end, people realized that they did their material for consideration as require our care and concern. And not have to go back to the old donations. they offer infinite possibilities. ways: postwar America was a new · Dode Platou world.

5 John Lawrence "It was a really good time to be If John Lawrence allowed him involved. Photography as a col self the time, he declares that the lectible was in the ascendancy," he book he'd choose to read while says. The immense Franck collec lying in a hammock would be Blue tion was beginning to take shape Highways by William Leastheat in 1979, followed by other large Moon-a sensitive account of trav collections: Stuart Lynn, Daniel eling the country's lesser known Leyrer, and Clarence John Laugh roads. The book's author and John lin. As the photographs arrived Lawrence share the gift of seeing "tens of thousands of objects com and appreciating the details of the ing in at once"-Mr. Lawrence's everyday world. In the case of Mr. main concern was with editing Lawrence, it is seeing the world and, at the same time, maintain with a photographer's eye. ing the emphasis of each collection. But he is not likely to be found In 1983, he wrote an introduc in a hammock. The curator of pho tion to the catalogue Music in the tographs at the Historic New Street: Photographs of New Orleans Orleans Collection is more likely by Ralston Crawford, in which he to be choosing photographs for states that "like all artwork of THNOC's current exhibition, writ and working as a docent and with value, these photographs speak to ing an essay about New Orleans researchers in the curatorial read us about life-not by being syn photographer Clarence John Laugh ing room, gave Mr. Lawrence the onymous with life, but by present lin, or checking the temperature of familiarity with the holdings that ing a simplified analogy that may the Collection's film-storage vault he needed. be associated with life's experi on Tchoupitoulas Street. He moves With the same precision he ences." This ability to speak elo quickly and with purpose. brings to all his endeavors, he re quently about photographs and to Words like accountability and calls the time he first became understand what they are about custodianship occur frequently interested in photography: the carries over into his numerous when John Lawrence is talking summer of 1976. It began as an published articles in the New about the Collection's photographic offshoot to help with his painting Orleans Art Review, where he is a holdings and his role as curator. and developed into both an avo contributing editor. Knowing about the proper care for cation and a job direction. The fol "I think of myself as a curator photographs-temperature, stor lowing year, a turning point in his who makes photographs," he re age, lighting-prompted him to career came when he traveled to plies to a question about his own write Preservation Guide 2: Pho the Rochester Institute of Technol work. One of his photographs, St. tographs, the second in THNOC's ogy for a seminar-"no fancy name, Louis Cemetery III At Night, New series of manuals for the layman just a straightforward title such as Orleans, La., depicts sculpted on the care of objects in the home. 'The Care and Preservation of angels and saints, almost disen Custodianship for Mr. Lawrence Black and White Photographic gaged from their tombs in a play also means making the photo Materials.' " Care has continued to of shadows, silhouetted in reverse graphs available to a wide audi be a watchword ever since. against the black trees and sky of ence, which he accomplishes by creating exhibitions, and by writ ing and speaking about the hold ings. "The curator of photo graphs," he maintains, "should be an emissary to the public." And he must make acquisition proposals based on a thorough knowledge of all the museum's collections. This he can do. His exposure to what the Collection contains comes from a long association with THNOC, beginning in 1975, one year after his graduation from Vassar College with majors in both art history and English. He remembers that "we were always working on exhibitions-they last ed at most about six weeks." Dis playing the Collection's treasures, Gallery, 533 Royal by John H. Lawrence (1980.180.2)

6 a New Orleans night. Stairwell, A. J . Meek and both Michael Smiths, But even more, he appreciates housed at the Collection, is subtle who have all worked locally. When reading about baseball: Ring Lard and geometric, revealing an unex looking for his own subjects to ner's Alibi Ike or Thomas Bos pected fragment of beauty. "I've photograph, he likes to wander well's How Life Imitates the World always liked how a camera could along state or parish roads, recep Series. And there's carpentry, or see," he says. Serious and articu tive to whatever comes along-his vegetable gardening, or fishing late, he continues: "It compresses own version of Blue Highways. "If that fill up his spare moments. three dimensions into two. It you're not restricted to a time table," When they take time off from ren changes things-which are even he says, "you always see things." ovating their house, he and his further removed in black and He comes by his sense of aesthet wife-Priscilla O'Reilly Lawrence, white." ics naturally: his father, also John THNOC's collections manager Mr. Lawrence's photographs Lawrence, was dean of the School like to go fishing in Mississippi. have been featured in solo exhibi of Architecture at Tulane Univer- To coincide with the current tions, as well as in numerous group exhibition, Mr. Lawrence has just shows. Last year, a retrospective completed a Guide to the Photo at Louisiana State University fea graphic Collections at the Historic tured 70 of his photographs from New Orleans Collection. He appre 1980 to 1988, an exhibition that ciates this opportunity to write coincided with what he calls "the about his favorite subject; "It's one end of my darkroom work-for of the benefits of the job," he says. awhile, at least." Writer Susan Sontag, author of He assisted Dode Platou in On Photography, expresses the acquiring the important Laughlin view that "each photograph is a photography collection; it is not privileged moment, turned into a surprising, then, that he appreci slim object that one can keep and ates "Clarence's work" and his be look at again." As caretaker of the lief that photography is a portal to sity, a practicing architect, and a Collection's photographs and as a the mind-"an attempt," as the preservationist. photographer in his own right, outspoken Laughlin put it, "to ani He enjoys baseball-THNOC John Lawrence is aware of captur mate all things ... with the spirit of staffers remember the dry wit of ing the privileged moment for the man." Mr. Lawrence appreciates his bulletins about the Collection's sake of history and of art. as well the work of photographers eclectic team, which he organized. - Louise C. Hoffman

Intern Works with Negative Collection

The Collection's intern pro was also a key factor in Mr. Hub as an intern: preparing the Del gram, now in its seventh year, pro bard's selection: he is working croix negatives for final accession vides an opportunity for college with original glass negatives. The ing and data entry. Another tangi students to learn how a museum project began in January 1989. ble result of his project can be works and to participate in an ex Mr. Hubbard, a non-traditional hibition or project of special impor student, returned to school after tance. spending 13 years in military ser One recent internship-the first vice with the Coast Guard. Inter to include two semesters-in ested in photography for many volves Lee Hubbard, a fine arts years, he appreciates the opportu major with a concentration in pho nity to work with vintage original tography at the University of New material. "Working with glass Orleans. His project is centered plate negatives is rewarding," he -7 around the thousands of items in says, "because of their historical Lee Hubbard the negative collection of local value." photographer Eugene Delcroix, As is the procedure with all seen in the current exhibition, which was given to THNOC by the interns, Mr. Hubbard spends eight Light & Time: 150 Years of New New Orleans Museum of Art in hours a week at the Collection Orleans Photography, where nega 1984; the work consists of identify four hours a week observing and tives that he printed are part of ing and sorting the collection and assisting with the operations of the display. then printing selected negatives. the different departments and four The Collection's intern program Mr. Hubbard was recommended hours working on a personal pro is administered by Dr. Patricia for the internship because of his ject. His work with the Delcroix Brady, Director of Publications abilities in darkroom work and his Collection was so successful that and Academic Mfairs. Information interest in photographic history. he was hired as a part-time em about applying to the program Having a sense of responsibility ployee to continue the work begun may be obtained from her.

7 HISTORIC A Hurricane to Remember New Orleans

"Storm Heads Toward Yucatan; Misses Here," headlined the New Orleans Daily Item on September 26, 1915. Two days later, through the efforts of Dr. Isaac Cline, dis trict chief meteorologist and pio neer hurricane forecaster, the ini I tial prediction was altered, and storm warnings were issued for 1 southeast Louisiana. Having fore seen a major storm, Dr. Cline urged Orleanians to stay off the streets, but most people still went to work. It was soon evident to everyone that this was going to be a dangerous hurricane. By 7 a.m. on Wednesday, Sep tember 29, wind gusts reached 50 Damaged house by John J . DePaul (1974.25.11.98) mph in the city; later in the morn ing, gusts of 75 mph occurred at Chef Menteur Pass. Around noon, late for some people. While many late afternoon, sending volleys of sustained winds were over 60 mph school students had to be convoyed window panes h urtling through in the city. Many people thought home, others had to ride out the the air. When windows at the at the time that the worst of the storm at school. Streetcar service United Cigar Store at the corner of storm had passed, but squalls con staggered to a complete halt by 2 Canal and Baronne streets blew tinued to increase in intensity p.m., forcing some people to strug out, bystanders, according to the throughout the rest of the after gle home in pelting rain and howl Times-Picayune, "'ru shed' t h e noon. For several terrible hours, ing winds. Thousands of workers 'smokes' and most of the cigars beginning around 4 p.m ., the full were stranded downtown in offices were appropriated by newsboys force of the storm pummeled the or found shelter in stalled street and other persons." city with little relief. cars and public buildings. Those The Times-Picayune initially The eye of the hurricane plowed seeking safety in the Canal Street reported that "New Orleans passed a s hore near Grand Isle, then ferry house narrowly escaped through the worst storm in its his passed over Tulane University, injury when the building col tory, and suffered little more than and finally pushed on between lapsed. On the Mississippi River, nominal damage." It was soon evi lakes Pontchartrain and Maure the Mastodon, a Southern Pacific dent that it was more than nomi pas. A tidal surge of 13 feet, the Railroad ferry filled with fright nal, since nearly every building in highest of the storm, rolled across ened passengers, broke loose from the city sustained at least some St. Bernard Parish, the Rigolets, its moorings and floated free until damage. and the Lake St. Catherine area. tugboats could lead it to safety. Churches were especially hard Sustained winds of 140 mph-a Tall buildings funneled winds to hit. St. Anna's Episcopal Church North American record for the increased speeds, but in spite of on Esplanade Avenue was de time-were recorded for five min dangerous conditions, there were scribed as a "tragic wastrel in a utes in Burrwood. In New Orleans still many pedestrians in the area. pile of bricks." The steeple of the the maximum recorded sustained As a safety precaution, people First Presbyterian Church on wind was 86 mph lasting for ten were allowed to cross streets only Lafayette Square crashed through minutes; the top gust in the city in groups, with arms locked, part of the church roof and then was 120 mph, lasting twenty sec assisted by police officers. Around onto two neighboring rooming 1 onds; and a barometric reading of the Maison Blanche Building, houses. The big metal ornament 28.11 inches was the third lowest whose tall smokestack crashed from atop the steeple was "hurled recorded in the world to that date. through the skylight of the S. H. through adjoining walls like a shot The height of the storm in New Kress store next door, winds were from a big gun," according to the Orleans was shown on the clock of estimated in excess of 100 mph all Times-Picayune. the St. Louis Cathedral, which afternoon. Cornices and parapets In the French Quarter, iron stopped at 5:50 p.m. were torn from a number of struc work and chimneys were ripped Around midday, schools and tures. Show windows along Canal from portions of the Pontalba offices began to close-already too Street began shattering during the Buildings. The dome and the

8 upper floors of the vacant St. The new drainage pumps ness and evacuation. Louis Hotel received heavy dam proved their worth by removing Life got back to normal as age. The French Market was a much flood water from the urban quickly as possible, although a shambles, with the Bazaar Market areas, but after electricity began number of school children received left an unrecognizable heap of rub to fail, the pumps had to be turned an unexpected vacation when ble except for a still intact, but off to prevent short circuiting. their schools were so damaged lopsided, cupola. The Presbytere's This action caused several feet of that they could not reopen for a cupola was demolished, and most water to accumulate in Mid-City week or two. The day after the of the Cabildo's roof slates were and the neighborhoods behind storm the Times-Picayune said, torn off-one from the cupola blew South Claiborne Avenue. "the number of persons 'making :inside to lodge in a portrait of Mrs. The day after the hurricane, their market' ... was fully up to Jefferson Davis. sightseers were out in force. "Par grade ... and despite property dam The parks and neutral grounds ties chartered automobiles, footed age visible all around, the throngs were covered with broken tree it, harnessed up the family spoke cheerfully, happy that the limbs; hundreds of live oaks were Bucephelus, all intent," said the storm was no worse than it was." uprooted. In Audubon Park, the Times-Picayune, "on visualizing Repair work on port facilities and Horticultural Hall, a popular relic the reported devastation of the the raising of partially submerged of the 1884-1885 World's Industri wind zone." Hundreds of automo ships began immediately. Some al and Cotton Centennial Exposi biles created traffic jams at broken public services were in partial tion, collapsed into a pile of tim bridges where improvised ferry operation the day after the storm, bers and glass. service had to be provided. Securi and almost all were nearing nor Along the riverfront, tugboats ty guards were posted at Mardi mal within a week and a half. and ferries had been ripped from Gras dens to prevent people from The first Sunday in October their moorings and left scattered sneaking looks at the 1916 parade was "annual straw hat day" when about. The bow of the ship floats that were visible through the men of New Orleans stuffed broken walls. their sunburned summer straw The storm ruined "annual mov hats into a cannon on the river ing day," October 1, when renters front to watch them be blown across in New Orleans traditionally the river as a symbol of the end of moved. The Times-Picayune re another hot summer. One men's ported, "Everything moved ... but store made light of the storm: an the movers," because so many advertisement in the newspaper houses were damaged that numer suggested the purchase of a new ous families refused to vacate fall hat, saying that it did not mat property, thus preventing new ten ter that "10,000 straw hats perish ants from moving in after them. in Hurricane," because " "1\vas time In the rural communities sur to shoot them anyway." rounding the city there was con - John Magill siderable suffering and property damage. The death toll was around Sources: Isaac Monroe Cline, Storms, 275, including 21 in the city; but Floods and Sunshine: A Book of Memories (New Orleans, 1945); Daily Item , Sep. 26- this number was actually modest 0ct. 10, 1915; Times·Picayune, Sep. 27-0ct. by previous standards due to the 10, 1915; Charles L. Sullivan, Hurricanes First Presbyterian Church efforts of Dr. Cline, a staunch early of the Mississippi Gulf Coast (Gulfport, (1981.309. 7.ix) proponent of hurricane prepared- [n.d .]). Columbia was atop the Esplanade ferry house, while the ship's stern rested on the bow of another ship. The stern of that ship landed on the bow of still a third vessel. Sev eral wharves stood like skeletons, with their massive steel curtains and corrugated iron sides and roofs ripped away. All that was 1 left of the Dumaine Street wharf was a mass of twisted metal. Along Lake Pontchartrain, where there was considerable flooding, camps were hurled off their piers. Bucktown had become a "huge pile of wreckage and flot sam." Half of the buildings and all of the major amusement rides had blown down at Spanish Fort. Hurricane Aftermath by John J . DePaul (1974.25.11.99)

9 The Historic New Orleans Collection acquires thousands of items through purchase and donation during the course of each year. Only a few recent acquisi tions can be noted here.

CURATORIAL

Richard Clague, Jr. (1821-1873), the first New Orleans resident to paint the flatlands of lower Lou isiana, is now considered the South's most important 19th-cen tury landscape painter. His work is highly sought after by collectors and museums interested in south ern painting; his career was well documented in a 197 4 exhibition and catalogue by Roulhac Tole dana at the New Orleans Museum of Art. THNOC's selective collec tion of paintings by New Orleans artists lacked a work by Clague until the recent acquisition of an unrecorded landscape, In Old Louisiana. The rural setting is probably across Lake Pontchar train in St. Tammany Parish, where Clague enjoyed making In Old Louisiana by Richard Clague (1989.96) pencil sketches from nature and then translating them into oil paintings in his French Quarter and an expansive blue sky. These preserve near Abbeville. A more studio. The painting's vertical for pastoral Louisiana landscapes familiar scene is a wood engraving mat (approximately 18xll inches) were suitable additions to Victori of Madame John's Legacy by the is highly unusual for the artist; all an parlors in New Orleans. The prominent midwestern illustrator known Clague landscapes are hor paintings found an appreciative and muralist Fred Geary (1894- izontal, appropriate to the depic audience, as well, in the north 1955). The wood engraving sug tion of the subject. The composi eastern United States, where gests the era of the 1930s and is tion, however, is typical of the for Clague's art may be classed with one of a series of prints probably mality of design acquired when he the work of the great American resulting from an unrecorded visit lived and studied in France. Pas landscape painters. to New Orleans by the artist. toral subjects from Clague's • The Louisiana landscape is also • Few local 20th-century print sketches are subtly arranged interpreted in Duck Blind, Bayou makers are better known than along horizontal planes and guide Club, a recently acquired litho Caroline Durieux, whose popular the viewer through the composi graph. The limited-edition print, lithographs are humorously satiri tion: an open road, two cows in the dated 197 4, is the only local scene cal. Recently acquired is the 1957 shade of a moss-laden oak, a farm by the noted New England illus color lithograph Deep South, the building, a line of trees on the dis trator Walter DuBois Richards, artist's subtly abstract interpreta tant horizon, dense white clouds, who has identified the site as a tion of the Ku Klux Klan, depicted

10 with white hoods and stylized Zella Funck and her daughter, crosses printed in red, white, and Margaret Chapman. The pro blue. grams, geared to child education, • Another color lithograph docu show Miss Funck explaining vari ments the first year that electric ous art techniques. globes replaced gaslights used in -John A. Mahe II carnival decorations by businesses and clubs. The Edison Electric Illuminating Company was organ ized in August 1887; according to LIBRARY Perry Young in The Mistick Krewe, this early public service company sponsored a carnival parade at Paul Emile Johns, mus1C1an, night to show the practicality of friend of Frederick Chopin, and electricity to illuminate a moving Russian consul in New Orleans group of people. The much-antici from 1848 until 1860, also pio pated spectacle was recorded in a neered the publishing of music in rare color lithograph (approxi this city. A native of Cracow, mately 25x38 inches), printed Poland, Johns probably arrived in locally by the firm of Koeckert & New Orleans in 1820. He ap Walle. The print shows the cos peared in city directories in 1822 tumed participants led by a grand La Belle Creole Cigar Factory (1989.84) and 1823 as a "teacher on the marshal who carried a baton piano forte" and as a "pianiste." In mounted with a large, incandes 1826 Johns began selling music, cent globe. Young identified the imported from Paris, in his home procession of marchers as cham earned a national reputation for and at the shop of a friend, a side bermaids, nursemaids, French quality products. An image of "La line which officially became his housemaid hussars, scrubwomen, Belle Creole," symbol of one of the second career in December 1830, cooks, kitchen maids, washwom firm's top selling cigars, peers when he announced the establish en, and elegant ladies, all sporting coquettishly from a vignette in the ment of E. Johns & Company, headgear or accessories with in center of the collage. music sellers and stationers. The candescent lights. Eight horses • The curatorial division has Collection has recently acquired a and their grooms, also fitted with added several examples of bank previously unrecorded piece of lighted helmets, pulled the engine notes to its collection of rare 19th sheet music bearing the imprint of and dynamo to supply current century paper currency. Many of E. Johns & Company, the earliest carried along concealed wires-to these date from antebellum days such item known to survive. "Gov the marchers. The lithograph sug when many banks and businesses ernor Gilmer's Grand March" by gests a grand night spectacle, but issued money. Recent acquisitions W. W. Waddell was performed at a newspaper accounts reveal the include bills from Cook & Brother; concert held in the governor's disappointing truth: rain that Sat the New Orleans, Jackson & Great honor in Athens, Georgia, on urday night forced cancellation Northern Railroad; the Louisiana August 4, 1830. George R. Gilmer and dispersed the thousands State Bank; the Citizens Bank of (1 790-1859) had been elected to awaiting the event. Though the Louisiana; and the Canal Bank, the first of two non-consecutive parade was rescheduled for Ash the latter donated by George terms as governor of Georgia in Wednesday, many of the marchers Popovich. More examples of New 1829. This composition was pub did not show up because of rumors Orleans currency would be wel lished simultaneously in Philadel that participants might be electro come donations. phia by George Willig and in New cuted. • Film and tape are useful Orleans by Emile Johns, probably • The recent acquisition of a large resources for historians because in December 1830, and is very unsigned watercolor and pencil they carry more information than early for a piece of sheet music drawing of the mammoth La Belle paintings, prints, photographs, with a New Orleans imprint. Creole Cigar Factory in the 1880s and other still imagery. The cul Another piece of sheet music may be the design for a business tural climate of New Orleans in acquired by the Collection was poster that was never printed. The 1986-1987 was documented in a also published in New Orleans factory was located in a building series of television programs and commemorates a prominent that still stands at Magazine and called "Steppin' Out"; its host-pro local physician and his contribu Julia streets. The active street ducer, Peggy Scott Laborde, has tion to medicine-Dr. Tichenor's scene includes several carriages, donated 68 video cassettes origi Antiseptic, still in popular use wagons, drays, and pedestrians nally broadcast on WYES, the today. "Dr. Tichenor's Antiseptic and suggests a healthy and pros local public broadcasting station. Waltz" was written by Louis Blake perous business. The owners' They contain commentary about and published by the Sherrouse names, S. Hernsheim & Bro., are the art scene, theater, movies, lit Medicine Company, Ltd., in 1895. painted in bright red, a sign of erature, and cuisine. Two films, Dr. George Humphrey Tichenor of pride for the nation's largest cigar also aired on the local PBS station Kentucky, a Confederate veteran, manufacturer-and one that had in 1963, were given by local artist had developed "the formula used in

11 the preparation of Dr. Tichenor's years 1807 through 1810, and Antiseptic while in private prac again from 1818 through 1832. A tice in Mississippi. He and Col. J. Frenchman who was in Santo Do M. Sherrouse established the mingo at the time of the slave Sherrouse Medicine Company, rebellion, he came to Louisiana via Ltd., in Baton Rouge in 1885 and Maryland. In his pamphlet Mem moved their operations to New oire, published in New Orleans in Orleans three years later to get a 1810, he defends himself against larger field for their rapidly public ridicule for his part in the increasing business. The compa slave revolt. The copy recently ny's major product was the anti acquired is from the collection of septic, "which for wounds, bruises, Gaspar Cusachs, a prominent New burns, sprains, etc., and for colic, Orleans businessman and presi cramps and general household dent of the Louisiana Historical purposes, has no equal, as evinced Society from 1913 until his death by the testimonials of the best in 1929, and is the only known men of the country." Shortly before copy in existence. the appearance of this waltz, the • Among other interesting items Sherrouse Medicine Company pur received by the library were two chased a printing plant for their trade catalogues from New Or private use in advertising and for leans companies. The Southern office and laboratory work. Pine Association issued a cata Undoubtedly, this waltz was com (89-313-RLJ logue, Modern Homes, in 1921, missioned and introduced to the which depicts 50 residences with public as a means of advertising the subjects of such histories. their floor plans. Many homes of their product. The title is certainly George N. Carpenter's History of that era found around New Or to the point in mentioning the the Eighth Regiment Vermont Vol leans may be recognized in this product's name, but it also con unteers; 1861-1865 relates this booklet. The Henderson, Thoens jures up images of waltzers wear infantry regiment's service from and Gerdes Company described ice ing sterile surgical masks and its arrival in New Orleans in May and refrigeration equipment in gloves as they whirl around the 1862, through the regiment's oper their catalogue of 1893, the year ballroom. ations in the Lafourche District, they exhibited their machinery at • Regimental histories expand Bayou Teche, Alexandria, and the the Columbian Exposition held in upon the basic movements of a Port Hudson campaign in Lou Chicago. Also received were sever military unit, giving an in-depth isiana, to its mustering out in al issues of the monthly magazine picture of camp life and the inci Washington, D.C., in June 1865. of the Warren Easton Boys' High dents and personalities which Postwar activities of the regi School, Old Gold and Purple, cov form the character of the unit. The ment's most noted members are ering a period from November unfamiliar country they moved also related by Mr. Carpenter, the 1923 to May 1925. through and the civilians, hostile regiment's sergeant major, along -Pamela D. Arceneaux and friendly, they encountered are with monument dedications and often commented upon in a regi regimental reunions. mental history. Several northern • Little is known about Pierre MANUSCRIPTS units which saw action in Lou Dormenon, who served as parish isiana during the Civil War were judge of Pointe Coupee during the "On Washington Avenue be tween Camp and Chestnut there stands a large, massive stone building dear to every girl who has ever entered its portals .... Shall I ever forget the strange feeling that took possession of my heart when I entered the large iron gates and heard them clang behind me." Leda Hincks Plauche, a member of the Newcomb College graduating class of 1907, wrote this memoir in her scrapbook filled with photo graphs, social notes, clippings, and the words to college songs and cheers ("Boom a rang a rang a tang!"). The "massive stone build ing" (actually, scored plaster) of Modern Homes, catalogue (89-281-RL) which she writes was built as a

12 home by James Robb about 1855 and became the new home of New comb College in 1891. Mrs. Plauche, a talented artist, had a busy career as a designer of carnival ball tableaux and floats, book illustrator, and owner of the Green Orchid Shop in the French Quarter. A fine sampling of those talents may be viewed in a dona tion by her daughter, Mildred Plauche Landry. Included are sketches of costumes, publications, correspondence, and the scrapbook from her Newcomb College days. • The fusillade which echoed through the Capitol Building on September 8, 1935, changed the history of the state of Louisiana, and perhaps of the nation as well. Who knows what the future would have held for Senator Huey P. Long if his life had not been vio lently ended by a bullet, allegedly fired by young Dr. Carl A. Weiss, Jr., who died on the scene in a hail of tommy-gun fire. Many theories have been expounded and many volumes have been written to try .J\.e.'Weomb ~a.mpu•-·-·- to explain the events and motives Above, Newcomb girls in costume; 4ll,2;6lturbap tl)e twenty-fiflb which led up to the assassination, right, senior class play announce of.Map~ninetetn. l}unht'dl.-nh but 50 years later there are still ment (89-35-L) •eben,At. ~i11tt ol ti)e eloek.- unanswered questions. One will not find any new revelations in the Weiss Papers, donated by Dr. Thomas E. Weiss to the manuscripts tion in 1916. Hero campaigned un evil.. .. We are sleeping on a volcano division. What the researcher will successfully for many ye;1rs for a and the rumbling of the earth find here is an inside view of a bridge to connect the east and betokens an explosion." Caleb close-knit family of doctors and west banks of the Mississippi. Green cautioned his father that musicians who were devastated by This report includes natural and the preaching of the abolitionists the news that Carl-a young man-made drainage systems, in the North not only slowed down physician with a wife and a three weather reports, agriculture, pro the process of emancipation by month-old son-had reportedly posed industrial and port develop southerners, but was destined to shot Senator Long and had been ment, and snapshots of houses drench the land in blood. He wrote killed on the spot. Letters of con and farming in this development his brother in 1842, urging him to dolence, filled with disbelief and known as the "Hero Tract" on the address a letter to some gentle shock, poured in from all over the west bank of the river. man of influence in Congress, world to the Weiss family. Accusa • Some of the best descriptions of relating that the smuggling of tions and theories of conspiracy Louisiana can be found in letters slaves from Texas was taking flooded the newspapers. The mate addressed to family "back home" place at the mouth of the Sabine rial, collected by Dr. Carl A. Weiss, by young men seeking their for River, the author's own official Sr., reveals a moving story of one tune here during the decades position prohibiting him from family's private grief during a before the Civil War. Caleb Green, bringing the complaint. most public event. a clerk of court of the Western Dis - Catherine C. Kahn • The Historic New Orleans Col trict of Louisiana, wrote three let lection offers the researcher an ters between 1835 and 1842 to extensive body of material on the family members in New York history of land surrounding this state. Writing from Opelousas, city. The manuscripts division has Washington, and Breaux Bridge, PHOTO CREDITS just acquired a proposal by George he commented on the climate ("the Hero, New Orleans businessman healthiest in the United States"); Jan White Brantley and land promoter, for the sale his wife and daughters who spoke Judy Tarantino and development of land in and only French; and slavery, which he around the Belle Chasse Planta- called a "great moral and social

13 Dr. Alfred E. Lemmon, acting cura San Diego photographer Dean Collins tor of manuscripts, spoke on surveying in August. historic cemeteries at the National Trust Jill Roberts, curatorial cataloging Conference on Burial Sites held in coordinator, and Charles Patch, sys Charleston, South Carolina, in June .. . he tems manager, traveled to Chicago in also spoke at the New Orleans Key October for the meeting of the Museum board Festival on New Orleans com Computer Network. PROFESSIONAL ACTIVITIES posers .. . Dr. Lemmon was invited to Taronda Spencer, manuscripts cata participate in the Latin American loger, and Alfred E. Lemmon attended Archivists Preservation and Conserva the annual meeting of the Society of Director Dode Platou visited vari tion Institute at the University of Texas American Archivists in St. Louis. Dr. ous museums in the Midwest during a at Austin. Lemmon also attended the annual meet recent trip to observe the procedures of ing of the Association of Records Man other institutions ... her tour included agers and Administrators in New stops at the Newberry Library in Chica Orleans. go, the Chicago Historical Society, the Dode Platou and Elsa Schneider, Minnesota Historical Society, and the curator of education, went to Seattle for James Ford Bell Library at the Univer the annual meeting of the American sity of Minnesota. Association of State and Local History in September. .. Mrs. Platou and John A. Mahe II, chief curator, attended the arts awards luncheon given by the Arts Council of New Orleans.

Przsczza ·z O 'n . Priscilla O'Reilly Lawrence, col Liezlly L lections manager, was moderator for alOrence " Copyright Admini stration for the Large and Small Museum," a session at the annual meeting of the Southeastern Museums Conference in Atlanta in October. ..John H. Lawrence, curator Head librarian Florence M. Jumon of photographs, served as a panelist. ville was appointed chairman of the Louisiana Library Association's Advi sory Committee on Publications. Judith H. Bonner, assistant curator, CHANGES recently lectured on " Art in New Orleans in the 1920s" as part of a facul Erratum: Alan Balicki 's title was ty institute on Faulkner and his contem incorrectly listed in the summer poraries entitled "William Faulkner and News/etter ...the correct title is prepara Other Famous Creoles," sponsored by tor/assistant registrar. the Louisiana Endowment for the Alfred E. Lemmon is serving as Humanities and Southeastern Louisiana acting curator of manuscripts. University. Jill Roberts married Patrick Gus MEDIA man in October in Northampton, Mas sachusetts. Alfred E. Lemmon presented a pro gram on Iberian music for Columbus Day on the WWNO radio program, PUBLICATIONS "Musica da Camera." John H. Lawrence was interviewed about the work of pho tographer Clarence John Laughlin for Judith H. Bonner and John H. television. Lawrence contributed articles to the New Orleans Art Review. SPEAKERS BUREAU

MEETINGS Staff members have recently made presentations to the following organiza tions: Pamela D. Arceneaux, Inter Jan White Brantley, head of pho national Council of Community tography, and Judy Tarantino, photog Churches ... John Magill, Danish school rapher, attended a photo-lighting semi teachers, sponsored by the Delphi nar, "The Magic of Light," given by Foundation.

14 Exhibition Inspires Comments As part of the exhibition 'Way "In my home town, people pay Down Yonder in New Orleans: Vis good money to hear the kind of itors' Impressions of the Crescent music played on the streets here." City, a guest book was placed in the Texas exhibition gallery and New Or "La plus americaine des villes leans visitors were invited to fran~aises." France record their own impressions of "Trying to find a parking place our city. The book, containing is a terrible experience, but fortu acid-free paper, will be preserved nately it is a fascinating town [in permanently in our manuscripts which] to walk and see the sights." department. Visitors came from Illinois almost all of the United States "Australia largely has been a and from Canada, Mexico, Costa 'throw away' society. Amongst Rica, Jamaica, Brazil, Norway, Swe other things New Orleans has den, Germany, Austria, France, kept physical vestiges of its past, Switzerland, Italy, Portugal, Spain, combined it well with the new, and Australia, New Zealand, and Japan. all based around the majestic Mis Following are some of the com sissippi River." Australia ments found in the guest book: "Wonderful, but too hot!" West Germany Viewed "What have you done to Bour in Japan that reaches five million viewers. bon Street?'' Illinois The productions are in English; "We can delay our trip to Paris." In June the Japanese Broad for those who are less fluent in the Wisconsin cast Corporation NHK filmed the language, Japanese translations "My lasting impression of New exhibition 'Way Down Yonder in are available at bookstores through Orleans will be a combination of New Orleans: Visitors' Impressions out Japan. The program included sultry weather, seafood, Cajun music, of the Crescent City for viewing in interviews with director Dode Pla Hurricanes, and friendly people. Japan last August. The broadcast tou and John Magill, assistant This is a unique American city. I ing company is equivalent to Eng curator, as well as information will return!" Northern Ireland land's BBC, with programming about THNOC.

Bibliography Now Available of New Orleans Imprints Please send: Qty. The Bibliography of New Or _ _ Bibliography of New Orleans leans Imprints, 1764-1864, the lat Orleans Imprints, 1764-1864 est publication of the Historic New @ $59.95 Orleans Collection, is now avail able for purchase. This descriptive __ Subtotal bibliography of books, pamphlets, _ _ Shipping & handling $2.50 per book and broadsides and other ephemera __ 9% tax, Orleans Parish printed in New Orleans contains __ 4% tax, other La. residents over 3,000 entries. The work of __ TOTAL AMOUNT DUE head librarian Florence M. Jumon ville, the Bibliography is the PLEASE PRINT: result of many years of meticulous research and will stand as a NAME --~~ definitive reference tool. P. William Filby, Fellow and for ADDRESS ------mer President of the Manuscript 8ITY------STATE ------ZIP--- Society, comments: "It is an im maculate work where Miss Jumon 0 Mastercard 0 Visa 0 Check or money order ville's ingenuity, tenacity, and enthusiasm have produced a tour Account number------Exp. date ------de force." The introduction is a his Signature tory of printing in New Orleans.

15 op at ection offers for sale a large and varied selection of antique and period jewelry in styles ranging from Vic torian to Art Deco. Distinctive pieces include cameos, message brooches, chatelaines, mourning jewelry, watch fobs , rings, and calling card holders. Costume jew elry from the past is particularly appropriate as a Christmas gift.

Non-Profit .· THE HISTORIC Organization U.S. Postage NEW ORLEANS PAID ·. COLLECTION New Orleans, LA Permit No. 863 NEWSLETTER THE HISTORIC NEW ORLEANS COLLECTION Museum • Research Center • Publisher Kemper and Leila Williams Foundation 533 Royal Street New Orleans, Louisiana 70130 (504) 523-4662 ADDRESS CORRECTION REQUESTED