VOLUME XXXV The Historic New Orleans NUMBER 2 Collection Quarterly SPRING 2018

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QUARTER CLASSIC: A Building’s Road to Restoration EVENT CALENDAR EXHIBITIONS & TOURS

Programming related to THNOC’s Original Liberty Jazz Band will perform All exhibitions are free unless otherwise noted. tricentennial exhibition New Orleans, the classic songs from Lewis’s repertoire. Founding Era is listed in white. Wednesday, April 11, 6–7 p.m. CURRENT Williams Research Center, 410 Chartres Street “SOIRÉE MUSICALE IN $25 for non-members; $15 for THNOC 18TH-CENTURY NEW ORLEANS” members at the Founder, Merieult, and Mahalia Join us for an evening of music popular in levels; free for members at Caillot, Jackson, colonial New Orleans. Harpsichordist Davide Laussat, and Bienville levels; for reservations, Mariano will play selections drawn from the visit www.hnoc.org or call (504) 523-4662. papers of Jean-Charles de Pradel, an early resident of the city. “THE TUNICA-BILOXI AND THE Tuesday, March 13, 6–7:30 p.m. RISE OF LOUISIANA” Williams Research Center, 410 Chartres Street John D. Barbry, director of development $15 for non-members; $5 for THNOC members and programming for the Tunica-Biloxi Tribe at the Founder, Merieult, and Mahalia levels; of Louisiana, will discuss the rich history free for members at Caillot, Jackson, Laussat, of the Tunica Nation, the artifacts known New Orleans, the Founding Era and Bienville levels. as the Tunica Treasure, and efforts to revital- Through May 27, 2018 ize the language of the Tunica people. Williams Gallery and Louisiana History “WHAT LIES BENEATH: Galleries, 533 Royal Street Tuesday, April 24, 6–7 p.m. ARCHAEOLOGY IN THE 533 Royal Street The Seignouret-Brulatour House: FRENCH QUARTER” Free Professor D. Ryan Gray of the University of A New Chapter New Orleans and Elizabeth Williams of Earth “TRADITIONAL HERBAL Through June 2018 Search Inc. will discuss the archaeological REMEDIES IN THE AFRICAN 533 Royal Street legacy of the Vieux Carré. AMERICAN COMMUNITY” Tuesday, March 20, 6–8 p.m. Born and raised in rural Mississippi, Eddie PERMANENT 533 Royal Street Boyd grew up using traditional herbal Louisiana History Galleries Free; for reservations, visit www.hnoc.org or remedies passed down through the African closed through June 25, 2018 call (504) 523-4662. American community. Having researched 533 Royal Street the effectiveness of the remedies as a faculty MUSICAL LOUISIANA: AMERICA’S member at the University of Michigan College The Williams Residence Tour CULTURAL HERITAGE of Pharmacy, Boyd will present his findings on THNOC Architecture Tour For the 12th year, THNOC and the Louisiana the herbs and their traditional uses. 533 Royal Street Philharmonic Orchestra copresent this free Saturday, May 12, 1–4 p.m. Tuesday–Saturday, 10 and 11 a.m., 2 and 3 p.m. concert at the historic St. Louis Cathedral. This 533 Royal Street Sunday, 11 a.m., 2 and 3 p.m. year’s theme, “Music in the City,” celebrates Free $5 admission; free for THNOC members the diverse peoples who have contributed to Groups of eight or more should call (504) 598- the region’s musical culture. “THE EARLY FRENCH MAPPING 7145 or visit www.hnoc.org to make reservations. Wednesday, March 21, 7:30 p.m. OF LOUISIANA” Educational tours for school groups are St. Louis Cathedral, 615 Pere Antoine Alley Dennis Reinhartz, professor emeritus at the available free of charge; please contact Jenny Free; no reservations necessary University of Texas at Arlington, will give Schwartzberg, curator of education, at (504) 556-7661 or [email protected]. a presentation on the early French maps “ARRIVING AFRICANS AND A that preceded and developed alongside the CHANGING NEW ORLEANS” founding of the city. UPCOMING Join historian and exhibition curator Erin M. Tuesday, May 22, 6–7 p.m. Art of the City preview exhibition Greenwald, now curator of programs at the 533 Royal Street May 8–Fall 2018 New Orleans Museum of Art, for a look at the Free 533 Royal Street formative role Africans played in the cultural, economic, and physical development of early “PULP FACTS: CELEBRATING New Orleans. CITRUS” GENERAL HOURS Tuesday, March 27, 6–7 p.m. The Collection’s fifth culinary symposium will 533 Royal Street explore the juicy topic of citrus. Join us for a 533 Royal Street Free; for reservations, visit www.hnoc.org or day of presentations exploring the history and Williams Gallery, Louisiana History call (504) 523-4662. global impact of these fruits, from marmalade Galleries, Shop, and Tours to limoncello. Tuesday–Saturday, 9:30 a.m.–4:30 p.m. BILL RUSSELL LECTURE Sunday, 10:30 a.m.–4:30 p.m. Saturday, June 9, all day For this year’s annual lecture inspired Williams Research Center, 410 Chartres Street by the work of jazz collector Bill Russell, $25 for non-members, $15 for THNOC 400 and 410 Chartres Street Dr. Michael White, clarinetist, composer, members at the Founder, Merieult, and Mahalia Williams Research Center, Boyd Cruise and Keller Endowed Chair in the Humanities levels; free for members at Caillot, Jackson, Gallery, and Laura Simon Nelson at Xavier University, will discuss the legacy Laussat, and Bienville levels; for reservations, Galleries of jazz clarinetist George Lewis. White’s visit www.hnoc.org or call (504) 523-4662. Tuesday–Saturday, 9:30 a.m.–4:30 p.m. ON THE COVER

Seignouret-Brulatour building garde-de-frise 1947; gelatin silver print by Stuart Moore Lynn gift of Stuart M. Lynn, 1978.102.83

CONTENTS

BUILDINGS / 2 Explore the 200-year history of The Collection’s new museum facility.

ON VIEW / 6 Off-Site Spotlight: Tricentennial Moments series serves up New Orleans history in miniature. Off-Site

PROGRAMS / 9 FROM THE DIRECTOR Tall ships anchor in New Orleans.

Perhaps the best thing about being located in the heart of the French Quarter is that we BOOKS / 10 are surrounded by the very history and culture we seek to preserve, exhibit, and make The Tennessee Williams Annual Review available to the public. The spaces we inhabit have their own stories, some stretch- unveils a Williams-penned film treatment. ing even further beyond New Orleans’s 300-year history. That’s why I’m so excited about our new exhibition center, set to open this fall. Located at 520 Royal Street, the RESEARCH / 12 museum facility combines the restoration of the historic Seignouret-Brulatour build- A leading American architect’s vision for ing with the addition of a new state-of-the-art exhibition space, tied together by one of the lakefront emerges from the archives. the most iconic courtyards in the Vieux Carré. As The Collection starts a new chapter in its own history, we are proud to costar in the continuing story of this 200-year-old COMMUNITY / 14 property, which has hosted business magnates, artists, television personalities, and even On the Job the cast of Saturday Night Live. I hope you enjoy learning more about the history of Staff News THNOC’s new addition in this issue of the Quarterly. In Memoriam As we continue our yearlong celebration of New Orleans’s tricentennial, I am pleased to spotlight some of the many media projects that have made use of our holdings to Focus on Philanthropy illustrate various aspects of the city’s history. From WYES’s Tricentennial Moments Donors and WWNO’s TriPod series all the way to the Library of Congress, we are proud to On the Scene assist others in sharing the history of our beloved hometown. Sadly, this issue of the Quarterly says goodbye to one of its longest-serving advo- ACQUISITIONS / 22 cates, Mary Lou Christovich, who passed away in late December. Known for her fierce Acquisition Spotlight: A rare pamphlet support of architectural preservation, authorship of important books, and longtime critiques the work of Creole playwright service on our board of directors, she will be remembered as a tireless guardian of the Victor Séjour. city’s heritage. Our heartfelt condolences go to her family. —PRISCILLA LAWRENCE Recent Additions 2 The Historic New Orleans Collection Quarterly B BUILDINGS

Brulatour Backstory In transforming the Seignouret-Brulatour building into a major museum facility, The Collection joins a long, varied line of esteemed occupants.

The Historic New Orleans Collection’s yearlong commemoration of the city’s tricenten- nial will culminate this fall with the opening of its third French Quarter campus, on a property with centuries of history of its own. The 19th-century Seignouret-Brulatour building anchors the new campus, which also includes a picturesque interior courtyard and a new, state-of-the-art structure featuring three floors of galleries. With 12,000 square feet of new exhibition space, innovative interactive installations for children and adults, a shop, and a café, the location will present new and exciting ways for the public to engage with museum collections and programs while also faithfully representing the history of the property. “The expansion of our museum is, in many ways, a return to the focus on preservation that motivated Leila and Kemper Williams to move to the French Quarter and establish THNOC in the first place,” said Deputy Director Daniel Hammer. THNOC hired architectural firm Waggonner and Ball to oversee preservation efforts and new construction. Visitors will enter through a three-story entresol townhouse built in 1816 for French-born furniture maker and wine importer François Seignouret. His B “S” monogram is visible in the garde-de-frise on the third-story wrought iron balcony, an original detail of the building. Other surviving early features include a second-level cast iron balcony, granite columns and lintels, and two service wings in the rear. Pierre Brulatour, another wine importer, purchased the house in 1870, though his ownership was brief. The property changed hands several more times until it was bought by tobacco businessman and philanthropist William Ratcliffe Irby in 1918. In the third-floor residence, Irby installed a luxurious ballroom and an Aeolian player organ, which has been restored and will be on display. Irby also tore down a rear ware- house and built a new structure for the Arts and Crafts Club of New Orleans, which used it for galler- OPPOSITE: 516–522, 526 Royal Street ies and classrooms in the 1920s and ca. 1900; photograph ’30s. During its run the group was a by Morgan Whitney vibrant cultural hub, hosting local, courtesy of Southeastern Architectural Archive, Tulane University Libraries, Morgan Whitney national, and international exhibi- Louisiana Architecture Photographs tions and offering courses with some of the most notable Louisiana artists A. Arts and Crafts Club block-print postcard of the era, including Clarence Millet, ca. 1925 by Louis Andrews Fischer Will Henry Stevens, and Helen gift of Boyd Cruise, 1958.85.145 Turner. Club artists frequently created popular depictions of the Brulatour B. Brulatour Courtyard 1933; oil on canvas courtyard, making it one of the most by Earl Goodman A iconic locations in New Orleans. 2007.0007

Spring 2018 3 BUILDINGS

C. WDSU studio WDSU acquired the property in the late 1940s and made it its headquarters until 1997. ca. 1955; gelatin silver print The station experimented with programming in its early days on Royal Street, once even by Charles F. Weber 2012.0208.1.8 installing a 2,000-gallon indoor pool for underwater telecasts. For several years, it was the only local station handling telecasts from nearly all the major networks, until other D. WDSU underwater remote affiliates came on the air in the mid- to late 1950s. With an impressive slate of original ca. 1950; gelatin silver print by Charles F. Weber programming, WDSU incubated talents including Dick Van Dyke and a number of 2012.0208.1.22 beloved local personalities, such as the mad-scientist character Morgus the Magnificent and children’s-show host Mrs. Muffin. Earning national recognition for its news and E. Dick Van Dyke and Maggie Brooks ca. 1955; gelatin silver print entertainment programming, the station won a Peabody award in 1959 for local public by Charles F. Weber service. WDSU took advantage of its Royal Street location during Carnival, providing live 2012.0208.1.7 coverage at a time when the major krewes still paraded in the French Quarter, and even hosting a party for Lorne Michaels and his Saturday Night Live cast on the third floor of the Seignouret-Brulatour build- ing when they crashed Mardi Gras for their show in 1977. THNOC purchased the property in 2006, with archaeological and architec- tural investigations preceding any major work. Archaeologists for Earth Search Inc. uncovered a well hidden beneath courtyard pavers, as well as various 19th-century artifacts, including ceram- ics, bottles, and metal utensils. Cypress Building Conservation conducted archi- tectural material analyses that revealed details such as the building’s original color scheme: ochre stucco, with wood trim painted Paris green. Restoration commenced with the removal of non- historic materials, erection of structural shoring, and brick repair. Character- defining features big and small were carefully preserved, such as the court- C yard-adjacent staircase popularized by

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4 The Historic New Orleans Collection Quarterly F. 520 Royal Street courtyard ca. 1900; photograph by Morgan Whitney courtesy of Southeastern Architectural Archive, Tulane University Libraries, Morgan Whitney Louisiana Architecture Photographs

G. Archaeologists for Earth Search Inc. uncovered a well beneath the Brulatour courtyard in 2013, during the excava- tion work that preceded restoration and construction of the new facility.

F the Arts and Crafts Club (its restora- tion sponsored by the 2017 Laussat Society and Bienville Circle members). More subtle work has been done on the Seignouret-Brulatour building’s masonry walls, which were repaired and plastered with natural hydraulic lime mortar. This material, similar to what would have been used at the time of the building’s original construction, will help ensure the longevity of the building’s soft, historic bricks in New Orleans’s humid environment. In 2016 workers laid the founda- tion for the new rear structure, and construction is expected to end late this summer. Designed for precise climate control and secure vehicle access, the new building will be able to accommodate large traveling exhibitions. Its frontage incorporates G materials that are harmonious with the historic nature of the property—wood, glass, copper, and stucco—in a thoroughly modern design. “Visually, there will be a very clear transition between the old and the new,” said Chief Financial Officer Michael Cohn. The campus will pay homage to its past occupants in various forms, chiefly within a permanent display on the history of the French Quarter. The stories of the property and the neighborhood, after all, closely intertwine. “The restored portion of this facility has seen basically all aspects of life in New Orleans take place between its walls,” Hammer said. “The historic preservation of this property is a showcase of the many, many changes that have been a constant throughout the history of this city and the French Quarter.” —NICK WELDON

Spring 2018 5 ON VIEW

ON AIR OFF-SITE SPOTLIGHT Tricentennial Moments airs at various times on WYES-1 Momentous Occasions available on demand at www.youtube .com / user / wyesondemand THNOC images help illustrate WYES’s short-form series Tricentennial Moments.

With New Orleans’s tricentennial year fully under way, the city is enjoying a media spot- light remarkable even for a town long enamored of its own legend. The longest-running effort in this vein has been Tricentennial Moments, the series of short video segments, or interstitials, produced by and airing on New Orleans’s main public television network, WYES. Clocking in around two minutes and cosponsored by THNOC and the Meraux Foundation, the segments function like an historical amuse-bouche, giving viewers a primer on various people, places, and events from New Orleans’s 300-year history. WYES debuted the series in July 2014, and segments air an average of 15 times per week on the network’s main channel, WYES-1. They are also all available on demand on WYES’s YouTube channel. “It’s quite the compilation,” said WYES Senior Producer Peggy Scott Laborde, who narrates the segments, along with Marcia Kavanaugh and Tom Gregory. “The goal— which seems far away, but we’re getting closer and closer—is to do 200 of these small video vignettes.” So far, 90 Tricentennial Moments have made it to air, covering subjects such as the city’s streetcar lines, Oretha Castle Haley Boulevard, the domestic slave trade, the Pontalba Buildings, and even New Orleans’s brush with Beatlemania, when the Fab Four played a 1964 concert in City Park. For nearly every installment of the series, THNOC A. Crowds at the 1984 world’s fair supplies image reproductions and/or video clips to bring the subject to life. Working with between 1984 and 1985; color photoprint by Dode Platou Senior Reference Associate Jennifer Navarre, WYES producers search The Collection’s gift of Mrs. Ralph Platou, 2000.75.9 online catalog to find, for example, images from the 1984 world’s fair in New Orleans. Photographs of crowds walking alongside what would become the Ernest N. Morial B. 1984 world’s fair montage Convention Center show the festive atmosphere and postmodern architecture installa- 1984; watercolor and marker on board by Randall A. Duell tions, while a commemorative illustration depicts some of the fair’s many sights in 2012.0164.9 a cartoon scene bursting with color. In another segment, a photographic portrait of

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6 The Historic New Orleans Collection Quarterly C D

George Washington Cable accompanies the fact that the famed Madame John’s Legacy C. Madam John’s Legacy 1940; watercolor was named not for one of the building’s 20 owners but rather for a fictional character by Boyd Cruise from Cable’s Old Creole Days. The Kemper and Leila Williams Founders In addition to the segments, WYES’s tricentennial programming has included the Collection, 00.39 documentary New Orleans: The First 300 Years, for which THNOC reproduced a D. George Washington Cable “tremendous” number of images, Laborde said, and a set of historical markers across the ca. 1879; platinum-print photograph city. Sponsored by the Gayle and Tom Benson Charitable Foundation, the markers align by George C. Cox 1993.127 with places covered in Tricentennial Moments, and visitors can use their phones to scan QR codes on the markers, which bring up the relevant segments on YouTube. “Not only E. Mahalia Jackson and Duke Ellington can visitors avail themselves of this, but we also love the concept of staycation,” Laborde at the First N.O. Jazz Fest said. “You’re out walking around, spending the day in the Quarter, and there’s always 1970; gelatin silver print photograph by Michael P. Smith © something to learn. If we can find new ways of giving locals an instant history lesson, The Historic New Orleans Collection, then I think we’re succeeding.” 2007.0103.2.204 Producer Tom Gregory earned a 2016 Emmy Award for Best Interstitial for his work on Tricentennial Moments, and the series also garnered an award from the Press Club of New Orleans. WYES plans to continue to produce the segments throughout the tricentennial year, inviting locals and visitors alike to appreciate some of the city’s 300 years of history. “It’s all about appreciating old things, and things with history and value,” Laborde said. “All these old buildings have a story, and if you know the history you value them more. I think when you live amongst these things there’s a tendency to take them for granted a little bit. It’s so easy day to day to forget that we live in this amazing place.” B —MOLLY REID CLEAVER E

Spring 2018 7 ON VIEW

OFF-­SITE The Quarterly Goes to Washington Our quarterly roundup of holdings that have appeared outside The Collection, either on loan to other institutions or appearing in noteworthy media projects.

The Library of Congress is celebrating the tricentennial of New Orleans’s founding with a year of monthly displays focusing on different aspects of the city’s history, such as the Higgins boat, Carnival, Mr. Bingle, Hurricane Katrina, and the Storyville blue books. Drawing mostly from the library’s own vast holdings, the exhibition

VOLUME XXXIV VOLUME XXXIV VOLUME XXXIV VOLUME XXXIV NUMBER 3 NUMBER 4 The Historic New Orleans NUMBER 1 The Historic New Orleans NUMBER 2 The Historic New Orleans The Historic New Orleans The Collection has extended its loan to FALL 2017 will feature copies of The Collection Quarterly WINTER 2017 Collection Quarterly SPRING 2017 Collection Quarterly SUMMER 2017 Collection Quarterly Historic New Orleans Hermann-Grima and Gallier Historic Houses of Collection Quarterly. an Alberta Kinsey painting depicting the historic Hermann-Grima House courtyard. The Historic New

B Orleans Collection Christian Women’s Exchange Quarterly, vol. 34, nos. C ca. 1935; oil on board Shop online at www.hnoc.org/shop Shop online at www.hnoc.org/shop Shop online at www.hnoc.org/shop Shop online at www.hnoc.org/shop THE DAGUILLARD COLLECTION: The African Experience in the Americas BLUE NOTES: The World of Storyville FLORE EN FORME: New Orleans’s Landscaping Love Affair 1–4 (2017) PASSION PROJECT: A Collector Salutes Southern Art by Alberta Kinsey bequest of Clarisse Claiborne Grima, 1981.376.161

Vincent Sciama, Consul General of France in Louisiana, and his press attaché, Bridget Stanga, selected The Louisiana Endowment for the Humanities 15 image reproductions for inclusion in the exhibition From the Archives: The Consulate General of France reproduced 46 images for inclusion in its com- in Louisiana, 1804–2017 memorative book New Orleans and the World: and Counting, on display 1718–2018 Tricentennial Anthology. at the Residence of France in New Orleans, through April.

Bastille Day program cover 1899 90-254-RL

L’Apologie cartoon featuring King Louis- Philippe I and Andrew Jackson ca.1836; lithograph 1957.65.2 Bananas on Conveyor Belt between 1930 and 1939; photograph by Charles L. Franck Photographers The Ogden Museum of Southern Art in New Orleans has borrowed four artworks for its exhibition on Spanish colonial portraitist José Francisco de Salazar y Mendoza The Charles L. Franck Studio Collection at The and his times. The show is currently on view and runs through September 28. Historic New Orleans Collection, 1979.325.3575

Daniel William Coxe 1792; oil on canvas by José Francisco de Salazar y Mendoza 2016.0466.9

Angélica Monsanto Urquhart Dow ca. 1781; watercolor on ivory by an unknown artist 2011.0387 Women decorating graves on All Saints’ Day ca. 1900; gelatin silver print 1985.126.43

8 The Historic New Orleans Collection Quarterly PROGRAMS See-Worthy Vessels Tall ships, arriving in time for NOLA Navy Week 2018, celebrate Louisiana’s sail-powered heritage.

Sailing ships were a common sight along New Orleans’s waterfront for nearly the first two centuries of the city’s existence. In the era before steam power, wind-driven vessels were the only practical and cost-effective means to move people and cargoes around the world. In celebration of the city’s tricentennial, Tall Ships New Orleans is bringing a fleet of these antiquated seacraft to anchor along the riverfront. Arriving April 19, in conjunc- tion with NOLA Navy Week, the ships will be open to the public for tours April 20–22. Whether a large square-rigged ship, a schooner-rigged brig, or a small lug-sailed coast- ing craft used for fishing, these seagoing machines were more complicated than most people today appreciate. Larger ships might utilize more than two dozen individual sails, with hundreds of different rope lines to raise, lower, and control them. Mariners needed to understand how the forces of wind and tide could act on vessels in motion, so that they could accurately follow a course and take any necessary steps to ease excessive strain on masts or hulls. Shipmasters were often versed in trigonometry as well as basic physics and engineering. Sailors developed a complex vocabulary to describe the various parts A of sailing ships and all aspects of their operation. Vestiges of their specialized jargon still A. A square-rigged ship docks along the pepper the English language, though common phrases such as “showing the ropes,” “by Mississippi River for NOLA Navy Week 2017. and large,” and “to the bitter end” have been shorn of their original nautical meanings. B. An Accurate Chart of the Coast of West In spite of the wealth of specialized knowledge a crew typically possessed, sailing was Florida and the Coast of Louisiana (detail) a hazardous profession, requiring constant attention to weather and sea conditions. Early 1803 ships’ logs held by The Collection highlight an unceasing attention to local conditions by George Gauld, cartographer 2015.0330 and careful reckonings of ever-changing positions on the sea. The 1810–1811 log of the brig Sophie details each course change, current position, wind direction, general sea and C. H. M. brig Sophie ship’s log weather conditions, and sailing configuration, as well as noting land or other vessels 1810–11 sighted. Wind-driven navigation posed a new set of challenges near land and shal- by William Brown, transcriber The William C. Cook War of 1812 in the South low water. Louisiana’s shifting coastline could be especially perilous, as seen on dozens Collection, 2001-68-L.13 / MSS 557.1.3 of early nautical charts held by The Collection. George Gauld’s 1803 chart provides valuable intelligence of depths, sea bottom characteristics and hazards, and navigable channels, even showing the location of mulberry bushes near a coastal inlet. Approaching and ascending the Mississippi River in the age of sail was both hazardous and labor intensive. The journey from the mouth of the river could take weeks, but sailors endured the toil and tedium to reap the benefit of a port that served the entire continental interior. —JASON WIESE

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Spring 2018 9 BOOKS

In Treatment The new issue of the Tennessee Williams Annual Review unveils an early version of The Glass Menagerie, a look at Williams in Iranian cinema, and much more.

The 2018 issue of the Tennessee Williams Annual Review opens with exciting new windows onto The Glass Menagerie’s past and present—and a glimpse of its future. From THNOC’s holdings comes a Williams work appearing in print for the first time: a 19-page type- script entitled “Provisional Film Story Treatment of ‘The Gentleman Caller’ (First Title),” one of many early incarnations of Glass Menagerie. Housed in THNOC’s Fred W. Todd Tennessee Williams Collection (the largest privately held collection of Williams materials in the country), the 1943 document—part screenplay dialogue, part plot summary, and sprinkled with suggested camera shots, cuts, and dissolves—offers insight into the ways Williams was conceiving of the dysfunctional Wingfield family prior to the play’s 1945 NEW FROM THNOC Broadway premiere. Intriguingly, Glass Menagerie’s absent father, whose portrait hangs The Tennessee Williams Annual over the mantelpiece much the way his memory hangs over his abandoned family, features Review, no. 17 prominently here. THNOC 2018 In the introduction to the text, the Review’s editor, R. Barton Palmer, explains that the work belongs to a production genre called a treatment: a presentation of the story that softcover • 6" × 9" • 192 pp. advertises the young writer’s scriptwriting abilities but also wanders into territory normally $15; available from The Shop at the responsibility of others (notably, film editors). The document, Palmer writes, is not a The Collection and online retailers proposed script as such. “It was intended to persuade MGM’s studio executives [Williams’s employers at the time] that the young writer should be contracted to produce a full, conventionally detailed version of the sample.” In the film treatment,Glass Menagerie’s portrait of the missing father comes to life: the young Tom Wingfield known well to Williams audiences opens his “memory play” by describing not his mother and sister in their run-down apartment but the arrival of his own father, the first Tom Wingfield, as a gentleman caller come to Blue Mountain to court Amanda Dabney. In an essay later in the Review, Naghmeh Rezaie explores Glass Menagerie’s present, unpacking the Iranian director Bahram Tavakoli’s 2011 filmHere without Me, in which a 21st-century Tehran family grapples with tensions and cultural pressures similar to those that plagued Williams’s mid-20th-century St. Louis family. Rezaie observes that Williams texts have been adapted in three films in Iran and India since 2004, suggesting an increas- ingly international future for the playwright’s work. Poet Elizabeth Barrett Browning and author D. H. Lawrence make surprising appear- ances, as well, in this issue of the journal. Barbara Neri pulls the thread of the cigarette case inscription in A Streetcar Named Desire—a quotation from Barrett Browning’s Sonnets from the Portuguese—to place Blanche in a history of love poetry stretching back to Dante and Petrarch. Henry I. Schvey mines Williams’s oeuvre for references to Lawrence, and in so doing finds Williams using the author ofLady Chatterley’s Lover as a springboard into examinations of the complicated relations among physicality, sexuality, intellect, and instinct. In a different approach to Williams’s depictions of the physical, Alison Walls follows the trail of Williams martyr figures to document the playwright’s evolving thoughts on the intimate bonds among desire, suffering, and the quest for the divine. R. Barton Palmer

10 The Historic New Orleans Collection Quarterly A. Page from “Provisional Film Story Treatment of ‘The Gentleman Caller’ (First Title)” 1943; typescript by Tennessee Williams The Fred W. Todd Tennessee Williams Collection, 2001-10-L.574 / MSS 562

B. Poster for Here without Me, Iranian film adaptation of The Glass Menagerie 2011 courtesy of Naghmeh Rezaie

A concludes the essay section of the journal with part 2 of his exploration (begun in the 2016 issue) of Williams’s underexamined, experimental play Period of Adjustment, which the playwright called a “serious comedy.” In Palmer’s study, the play emerges as an inspired reinvention of Noël Coward’s commercially successful comedy Private Lives, and the genre “serious comedy” reveals itself as, in part, Williams’s response to competing pressures of economics and audience expectations. A pair of reviews rounds out the issue: Tiffany Gilbert’s examination of three recent scholarly books on Williams follows the playwright through transatlantic encounters and tracks his fearless engagement with culturally and legally risky themes. Finally, Annette J. Saddik offers insightful analysis of the recently staged Grand Guignol: The Brother and Sister Play, an exciting production created by Lee Breuer and Maude Mitchell from the works of Williams and Mary Shelley. —THNOC STAFF B

Spring 2018 11 RESEARCHPROGRAMS

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A. Rendering of proposed casino at West End A Glimpse of Grandeur 1894; ink and watercolor on paper mounted on board An architectural design proposed nearly 125 years ago sheds light on by Louis Christian Mullgardt 1990.77 the early work of a great American architect.

On the morning of May 23, 1894, a fire broke out in the cupola of the West End Hotel, an elaborate two-and-a-half-story wooden structure erected in 1880 and part of the popular West End resort on Lake Pontchartrain in New Orleans. The blaze spread rapidly. By the time firemen reached the scene, the hotel and platform on which it stood had been obliterated. The heavily insured hotel was valued at an estimated $75,000 (more than $2 million in today’s currency). The fire ultimately consumed all structures between the hotel and the shore of the New Basin Canal. The New Orleans and Lake Railroad Company, which owned the West End resort, made immediate plans to rebuild. Within weeks, the field of applicants submitting plans to rebuild the resort had been culled, leaving two finalists: Thomas Sully of New Orleans and Louis Mullgardt of the St. Louis architectural firm Stewart, McClure, and Mullgardt. On June 20, exactly 28 days after the fire, railroad officials adopted Sully’s proposal, and Mullgardt’s losing design was never made public—until now. In 1990 The Historic New Orleans Collection acquired one of Mullgardt’s original sketches showing the proposed complex at West End. Never built, the design is an early work by a major American architect later associated with the First Bay Tradition, a regional architectural movement prominent in turn-of-the century California. Mullgardt (1866–1942) was a first-generation German-American. Born in Washington, Missouri, he took an early interest in architecture. At age 15, Mullgardt began apprenticing at two successive St. Louis architecture firms and subsequently moved to Boston, where he worked with the H. H. Richardson firm before entering Harvard University.

12 The Historic New Orleans Collection Quarterly Illness cut short Mullgardt’s studies, but, once recovered, he relocated to Chicago in 1891, hoping to capitalize on projects associated with the 1893 World’s Columbian Exposition. While there, he worked as designer-in-chief for architect Henry Ives Cobb, contributing to designs for the Newberry Library as well as the Fisheries Building at the exposition. The young architect entered private practice in 1892, joining Alexander M. Stewart and Craig McClure. The partnership survived only until 1894 but produced works includ- ing the second Arlington Hotel at Hot Springs, Arkansas. Mullgardt’s design for West End, done in Second Italian Renaissance Revival style, was completed on the tail of the Arlington Hotel’s construction, in the spring of 1894. In 1897, Mullgardt wed Laura Steffans, a noted harpist and daughter of Chicago photographer Matthew J. “the Commodore” Steffans (1852–1928). Children soon followed, and the family briefly resided in England before settling in San Francisco, where Mullgardt garnered attention and acclaim for his residential bungalow designs. As a member of the architectural board for the 1915 Panama-Pacific International Exposition, he designed the fair’s Court of Ages (later known as the Court of Abundance), a Spanish Renaissance–inspired garden courtyard with ornamented arcades framing a central tower. His reputation boosted by the world’s fair project, notable Bay Area commissions followed, including the Memorial (later de Young) Museum in San Francisco’s Golden Gate Park, and the President’s Residence (later known as the Knoll) at Stanford University. During World War I, Mullgardt relocated to Hawaii. While there, he designed a massive building for the Theo H. Davies trading company. Wartime shortages prevented Mullgardt’s further plans for redeveloping downtown Honolulu from being realized. With A few new commissions, he left Hawaii in the early 1920s and embarked on a yearlong world tour. Upon his return to California, Mullgardt designed a multilevel, 11-span bridge across San Francisco Bay, envisioning it as an overwater thoroughfare upon which factories, hotels, and other buildings would be erected. The ambitious design was never built. B. Original West End structures Although Mullgardt continued to work, he was neither as prolific nor as successful as he destroyed in the 1894 fire had been prior to his world tour. His final work is believed to be the San Francisco Infant 1892; collotype photoprint by James P. Craig Shelter, which he designed in 1927. 1970.29.67 The same year Mullgardt designed the Infant Shelter, his wife of 30 years commenced divorce proceedings, on the grounds of abandonment. The following year, a son perished C. Rebuilt West End Hotel and in an aviation accident. For the remainder of his life, Mullgardt experienced significant Tranchina’s Restaurant, designed by Thomas Sully mental illness and was destitute when he died in a state mental hospital in 1942. —M. L. between 1894 and 1900; photoprint EICHHORN 1974.25.39.30

B C

Spring 2018 13 COMMUNITY

ON THE JOB Robert Ticknor POSITION: Reference associate, on staff since 2012 ASSIGNMENT: Assist students with primary-source research in the WRC reading room

For the past few years THNOC has partnered with two local schools to bring weekly classes directly into the reading room of the Williams Research Center. The first class debuted in 2014 and is offered to advanced high school students of Bard Early College in New Orleans. Led for its first four years by professor Rien Fertel, the course introduces students to the inner workings of museums and archives and the basics of using primary- source documents to both learn about the past and construct an original argument. In 2015 The Collection began a partnership with Xavier University of Louisiana to host a similar course, designed by professor Elizabeth Manley and myself, “Introduction to Historical Research and Writing: Finding History in the Archives,” which teaches history majors research methodologies used by historians. Both classes continue to be offered annually—Xavier in the fall, Bard in the spring—and require students to pick a research topic and, at the end of the semester, present their findings to school faculty and THNOC staff. I have been involved in both classes since their inception, and it has been wonderful to see so many students use our holdings to learn about primary sources and conduct research. My job begins before the semester even starts, meeting with the THNOC education department and the respective professors to determine how many research days we will need and set up presentations from staff. Mining the wide-ranging expertise of our archivists, editors, and curators, these staff talks have covered topics such as exhi- bition planning, oral histories, and book publishing. Once the semester begins, the most In November students from Xavier University important thing I do early on is to assist the students in finding a topic, one that not gave their final presentations for the research only interests them but also is supported by our holdings and narrow enough in scope to projects they worked on at The Collection. be tackled in one semester. For example, most of our 18th-century primary-source docu- BACK ROW, LEFT–RIGHT: Reference Associate Robert Ticknor, Alaysha Smith, Alyssa Dorsey, ments are handwritten in French or Spanish. Even if a student does read in the language, Kanika Gaines, Jalisa Orellana, Catalin Fifea, the paleography (ability to read antiquated handwriting) typically demands more time and professor Jonathan Rotondo-McCord. than our course allows. Given these challenges, I might encourage a student interested in FRONT ROW, LEFT–RIGHT: Curator of Education colonial Louisiana to focus on maps and visual materials, or to explore a related topic. Jenny Schwartzberg, professor Elizabeth Manley, Tia Coleman, and Education Assistant As someone who works with all the different parts of our collection through my work Sarah McKenney. in the reading room, I am familiar with a wide array of our holdings, and eventually every student finds a topic that is a good fit. I particularly enjoy helping students tap into their own interests, leading them to topics they might not have thought belonged in a history class. One student turned her love of duck hunting into an exploration of the environmental challenges faced by coastal Louisiana. Another started with a fascination with Japanese culture and discovered the Japan exhibit at the 1984 world’s fair. Other student projects have covered art, music, science, the military, literature, and more. Once everyone has settled on a research subject, I make sure that relevant archival material is ready for the students when they arrive, so that we don’t lose precious research time with me going into the vault over and over to retrieve items. The professors require the students to use THNOC’s online catalog to locate items for research and submit a list of requests; usually

14 The Historic New Orleans Collection Quarterly an early homework assignment familiarizes them with searching the catalog. An important part of my role is to help each student find materials that they might have overlooked or not known how to locate. Some of our students have continued their research as they have advanced further in school, with at least two Xavier students turn- ing their research project into their senior thesis. One student’s research on Tennessee Williams and his relationship with his lover and friend Pancho Rodriquez garnered an invitation to attend the annual Tennessee Williams / New Orleans Literary Festival as a guest of the organizers. Whether a student’s research continues or ends with the semester, they all get to experience what it’s like to be a real historian, archivist, or researcher. They learn that history isn’t just a static narrative written in books: working with actual historical artifacts, items from the past that they can see and touch, provides a deeper Students from Bard Early College in New Orleans understanding of what comprises history and how it is made. —ROBERT TICKNOR conduct research in the WRC reading room.

STAFF NEWS Honorees Benjamin J. Rodriguez, Sally Stassi, Steve Sweet, Maclyn Le New Staff Bourgeois Hickey, and Rudolph B. Gonzales III, visitor services Carol O. Bartels stand supervisor. Volney Hill, development next to Kathy Slimp, coordinator. Emily Perkins, curatorial Priscilla Lawrence, and cataloger. Jason Anuszkiewicz, Cole board president Drew Jardine at THNOC’s Bonner, Sarah Jackson, Anne Lestelle, October celebration of Jennifer Lindsay, Mia Rivarde, Cate its 25-year employees. Sampson, and Lea Ziegler, volunteers.

Changes A number of staff members recently received new titles. Matt Farah, associ- ate curator of traveling exhibitions. Lisa Spanish colonial legacies in New Orleans The Collection will formally receive the Griffin, network administrator. Jenny to Tulane University’s Altman Program in award at a ceremony in May. In addi- Schwartzberg, curator of education. Eric International Studies. Harrell also spoke tion, LEH honored the late Mary Lou Seiferth, associate curator /historian. Jude alongside Richard Campanella, Ibrahima Christovich, former chair of the board of Solomon, curator. Mallory Taylor, associ- Seck, and others about New Orleans’s The Collection, with an award for Lifetime ate curator. tricentennial at the New Orleans Book Contribution to the Humanities. Festival in November. In October THNOC hosted a party In the Community Elizabeth Ogden, visitor services at the Mardi Gras Museum of Costumes Pamela D. Arceneaux, senior librarian/ assistant / project specialist, has joined the and Culture to honor employees who rare books curator, presented a paper, executive board of the Junior League of have worked at The Collection for 25 or “Guidebooks to Sin: The Blue Books New Orleans. more years. Carol O. Bartels, director of Storyville, New Orleans,” in October of technology; Maclyn Le Bourgeois at the Louisiana Book Festival. Honors Hickey, curatorial conservation coor- In January, Editor Molly Reid Cleaver In January the Louisiana Endowment for dinator; Benjamin J. Rodriguez, participated in a panel on the legacy of the Humanities (LEH) named THNOC’s maintenance associate; Sally Stassi, musician Danny Barker at the Danny 2017 exhibition Storyville: Madams and receptionist; and Steve Sweet, manager Barker Banjo and Guitar Festival. Music—curated by Eric Seiferth, Pamela D. of internet and interactive development, In October, Library Processor Kevin T. Arceneaux, and John H. Lawrence—its were recognized. Harrell presented a lecture on French and inaugural Museum Exhibition of the Year.

Spring 2018 15 COMMUNITY

IN MEMORIAM Mary Lou Christovich

In late December, The Collection lost one of its longest-serving and fiercest allies. A lifelong resident of New Orleans, prolific author, and tireless advocate for preservation of the built environment and the written record, Mary Louise Mossy Christovich was a consummate humanist. In a career spanning more than seven decades, she worked to ensure future generations’ access to Louisiana’s artistic, architectural, and archival resources. The twinned values of education and preservation underscored Mary Lou’s life’s work. Research and writing were constants in her life; perhaps the only thing she relished more than a successful archival treasure hunt was the chance to craft a persuasive narrative. She authored 10 books—many with her close friend, Roulhac Toledano— including the landmark Friends of the Cabildo New Orleans Architecture series (1971–97), which won an award of merit from the American Association for State and Local History in 1976 and an Alice Davis Hitchcock Book Award from the Society of Architectural Historians in 1977. These works, along with her preservation activities, earned her recognition as Alumna of the Year from her beloved Newcomb College, in 1992. Most recently, THNOC staff worked with her to produce Garden Legacy, a 2016 publication exploring 300 years of French and French-influenced garden design in New Orleans. Described by Susan Larson as “a garden of delights” and by R. Stephanie Bruno as “an authoritative guide to New Orleans and its gardens,” Garden Legacy was a labor of love for Mary Lou, who worked painstakingly on both the writing and design of the book. It’s the rare preservation-oriented group that Mary Lou didn’t touch with her energetic leadership. She was a charter member of the Friends of the Cabildo, a founder and long- time director of Save Our Cemeteries, a cofounder of the Preservation Resource Center, and a vital player in the development of such neighborhood advocacy groups as the Coliseum Square Association, Esplanade Ridge Association, and Felicity Redevelopment Corporation. Mary Lou was dedicated to the preservation not only of neighborhoods but also of the archives that document their growth. While the explicit purpose of the New Orleans Architecture book series was to save the city’s architectural heritage, the volumes implicitly drew attention to the vulnerability of local archives. Indeed, the launch of the series prompted an outpouring of public support for the New Orleans Notarial Archives and the eventual establishment of the Southeastern Architectural Archive at Tulane University. Garden Legacy, in turn, showcased the remarkable “illustration art,” to use her term, of the Notarial Archives while reminding readers that these “fragile survivors” demand constant care and attention. Here at The Collection, Mary Lou was known as a force of nature for nearly a half century. A member of the board of directors of the Kemper and Leila Williams Foundation since 1972—its president from 1996 to 2003, and its chair from 2003 to shortly before her death—Mary Lou applied fiscal responsibility and intellectual curi- osity to her governance role. Mary Lou was married to attorney William K. Christovich for more than 50 years, until his death in 2012. She is survived by their four children, Michael and Jeffrey Mary Lou Christovich with her husband, Christovich, Marie Elise “Kitten” Grote, and Terry Christovich Gay, as well as 10 grand- William K. Christovich, in 1985 children and five great-grandchildren.—PRISCILLA LAWRENCE

16 The Historic New Orleans Collection Quarterly FOCUS ON PHILANTHROPY Katy Casbarian History fills the air at Arnaud’s Restaurant. The echoes of innumerable feasts, birth- days, business deals, first dates, and weddings swirl among the chandeliers and bounce off the Italian tile floors. Established by French wine seller Arnaud Cazenave in 1918, the restaurant has built a reputation around its classic Creole dishes and its grand dining rooms. For 100 years and under two families of ownership, one essential quality has remained constant for the French Quarter landmark: “People come here to make memories,” said Katy Casbarian, seated at a table in the main dining room. Casbarian and her brother, Archie—both members of The Collection’s Caillot Circle—represent Arnaud’s fourth moved to New Orleans in the 1960s. He heavily in renovating the restaurant, generation of owners, having taken over the bought a home in the French Quarter and exemplified by the main dining room, family business after their father, Archie Sr., fell in love with Jane, a native of uptown where they’ve installed dramatic beveled- passed away in 2009. Their mother, Jane, New Orleans who would become his wife glass windows in a mezzanine once used still helps run the restaurant. and business partner. They invested $2.5 by the Count to survey his guests. Under Cazenave, a larger-than-life personal- million into renovating Arnaud’s, reopening their leadership, Arnaud’s French 75 bar ity whom friends nicknamed “the Count,” it a year after their purchase. “They poured won the 2017 James Beard Award for developed an encyclopedic menu designed everything they had into the restaurant,” Outstanding Bar Program. to appeal to diners of all tastes, and worked Katy said. The Casbarians see Arnaud’s as a piece to ensure that patrons would enjoy them- Katy grew up in Arnaud’s, her world of the larger French Quarter fabric, and selves at all costs—his booze sales during branching out from its labyrinth of dining Katy has a special appreciation for its Prohibition led to a federal raid of Arnaud’s rooms (today totaling 17). With the family architecture, history, and culture. In addi- and his arrest. During the Count’s tenure, home just blocks away, she and her brother tion to being part of the Caillot Circle, Arnaud’s blossomed into a French Quarter did their homework from little desks set up THNOC’s membership group for young staple, expanding to 11 buildings, includ- in the restaurant, celebrated birthdays in its professionals, she has established Arnaud’s ing a massive kitchen that serviced its dining rooms, and worked their first jobs as a sponsor of the tricentennial-year exhi- many dining areas. Upon his death in there. After graduating from Isidore Newman bition New Orleans, The Founding Era. 1948, he left the restaurant to his daughter, School, she attended Cornell’s School of The restaurant also hosts an annual jazz Germaine Wells, who had a similar flair Hotel Administration. She started her career brunch for New Orleans Antiques Forum for the dramatic. She founded the Historic at the Waldorf Astoria in New York, but attendees. French Quarter Easter Parade and reigned as returned home in 2004 and, after her father “The Historic New Orleans Collection is queen of at least 22 Mardi Gras balls. (Her passed away, teamed up with her brother and a great custodian of our local history, and collection of Carnival gowns can be seen in mother to run the family business. we want to help people learn how much it a mini-museum inside Arnaud’s.) After 60 “My parents always encouraged us to has to offer to the public,” Katy says. “This years in her family, Wells sold Arnaud’s to explore other opportunities,” she said, “but I year, especially, as the city celebrates its Archie and Jane Casbarian in 1978. always expected to come back here.” tricentennial and we celebrate 100 years, Archie Casbarian Sr. had worked in The Casbarian children have followed in it’s really exciting to have a bigger role with luxury hotels all over the world when he their parents’ footsteps. They’ve invested The Collection.” —NICK WELDON

Spring 2018 17

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Patricia L. Dorn Roger Drake Ann R. Duffy Charles P. Duffy Mr. and Mrs. J. Kelly Duncan Mrs. John B. Dunlap Jr. Donna M. Duplantis DONORS Marlene R. Duronslet Nancy Eberle October–December 2017 Mr. and Mrs. Lucas H. Ehrensing M. L. Eichhorn The Historic New Orleans Collection is honored to recognize and thank the following Hillary Eklund and Greg Larsen individuals and organizations for their financial and material donations. Cynthia del Corral Ellington Richmond Ellis and Thomas Jayne Mr. and Mrs. H. Dale Abadie Malinda and William Blevins Chadwick Family Foundation Barbara Epstein and Kevin McEvoy Danna M. Acker Nell T. Boersma Lisa and Clark Charbonnet Gail Etiénne-Stripling Frederick Adinolfi Nancy B. Bogan Glynn D. Chevallier Joseph S. Exnicios Lee Adler and Robert Marks Debra W. Bollinger and Cynthia L. Mrs. Wiliam K. Christovich Michael B. Exstein and Ted Exstein Mr. and Mrs. Richard M. Adler Waters Loretta Capdevielle Clark Martha E. Farley-Millett and Allan R. Mary and Doug Albert Carey Bond and Henry Lambert Stephen W. Clayton Millett James H. Alexander Dr. Denise A. Boswell Jessica Cogan Patti G. Faulder Dr. Carol Allen Margaretta and L. J. Bourgeois Pam and Michael Cohn FestiGals Inc. Kristine Anderson Owen Ray Bourque Dr. and Mrs. Hugh M. Collins Clare Fiasconaro Judy and Allain Andry Boutique du Vampyre José Luis Colomer Dr. Diane J. Finley Angelo Brocato Ice Cream and James Boyd Martin Colvill Sevilla White Finley Confectionery Inc. Christopher Boze Jr. Blanche M. Comiskey Mary and Thomas Finney Arbor House Floral Neal Brantley Consulat Général de France à la Jerry G. Fischer and John G. Turner Deborah and Michael Ariano Claudia and Stephen Braud Nouvelle-Orléans Marianne Fisher-Giorlando Judge Morris S. Arnold and Mrs. Mrs. Philip Breitmeyer II Phyllis Lawton Cosentino Fitzpatrick Foundation Gail K. Arnold Bradford Breuhl Mary Len and Louis Costa Grace M. Flanagan Jan and Honoré G. Aschaffenburg Esther Brewer Carla L. Coury Mr. and Mrs. Dudley Flanders Connie Zeanah Atkinson, PhD Michael Brink Gustavo Coutin JoEva Flettrich Ruth and Richard Autin Bonnie Broel Elliott K. Cowand Mrs. F. Frank Fontenot Maurye Aycock Mary Aldigé Brogden Mr. and Mrs. Ralph C. Cox Jr. Terry Forrette Ann H. Babington Daniel A. Brook Adele Queyrouze Cressy Craig Forshag Rose and Ed Back Jane U. Brown Blake Crow Richard L. Forstall Ann B. Bailey Jennie and James O. Bryant Dave Crowley Charles Foster Larry E. Baker Patricia W. Burke Hartley and Blair Crunk Foundation for the Crafts of the Mr. and Mrs. F. Macnaughton Ball Jr. Harold Hugh Burns Dana Criswell Cruthirds and Joseph Newcomb Style Baptist Community Ministries Judith Burrus Cruthirds Dr. and Mrs. John Fraiche Cathy and Morris Bart III Cheryl and Lee Cabes Chris Daigle Larry D. Franke Michael Batterman Mike Cafferata and Mark Monte Cecilia Dartez Tina Freeman Didi Battle Amelie W. and Charles H. Cagle Marianne and Mark Dauer Nicole and Miles Friedlander on Mr. and Mrs. Alvin A. Baumer Jr. Suzette Cain William David Davas behalf of French Antique Shop Claudia Colomb Becker Gerry Call Mary Davis Friends of the Jefferson Public Mr. and Mrs. John D. Becker Bertie Campbell Katherine de Montluzin Library Nyra Becnel Elizabeth Y. Canik Dr. Timothy J. and Leslie Delcambre Mr. and Mrs. Louis L. Frierson Hilton S. Bell Mr. and Mrs. Carlo Capomazza di Randolph Delehanty Fundación Consejo España-Estados Jack Belsom Campolattaro Malayne and Robert DeMars Unidos Adelaide Wisdom Benjamin Marilyn “Tish” Capretz Mr. and Mrs. George Denegre Jr. Mr. and Mrs. William J. Furlong Margaret and William P. Benjamin Richard Card David J. Dennis Sr. Don Gagnon and Cindy Gagnon Marshall Bennett John Cariere Mr. and Mrs. Richard A. Derbes Anne Gauthier Kate Benson and Nick Detrich Angela Carll Nathalie H. Dessens John Geiser III Henry Bernstein and Jerry W. Carol Lise and Irving Rosen Fund Katherine Miller Determan Carol and Edward Gernon Zachary Walter Carroll Jr. Deutsches Haus Dr. and Mrs. David Glancy Jason Berry Katy Casbarian Glenn Louis DeVillier Mary and John L. Gohres Jr. Steven K. Best Dr. Raphael and Inez H. Cassimere Jr. Wanda Lee Dickey Robert B. Golden J. Timothy Betbeze Katherine Cecil and Emile Dumesnil Dickie Brennan & Co. LLC Kitzi Goldman Cheryl and Dixon B. Betz Emily C. Cercena Douglas G. Dike Marc A. Goldman Dr. Joseph J. and Mary C. Biundo Beverly Cerise Diocese of Baton Rouge Archives Priscilla Harley Gordon and Nathan Edwin J. Blair Georgia D. Chadwick Department Gordon Mr. and Mrs. Emanuel Blessey Joan and Robert Doolittle Steve Gorin

18 The Historic New Orleans Collection Quarterly

Dr. and Mrs. Roger Graetz Dr. Nina M. Kelly Michael Marino and Ronald Viggiani Dr. Gene F. Pawlick Greater New Orleans Collaborative Monique Kennedy and Merrill Hall Drs. Georgia McDonald and Andy June B. Peay of Charter Schools Melissa A. Kent and William J. Mayer Jerry F. Pepper Christina and Bryan Griset Warren Gretchen McAlpine Kelly Pepper Michael C. Grumich Catherine and John Kinabrew Jean McAuliffe Rob Perkin Elaine and Douglas Grundmeyer Drs. Mary and Thomas Klaasen Warren McCabe Shari Perron John D. Guarnieri Jr. Andrew Klein Carolyn and Henry G. McCall Jo Ann and David Persons Joan Guccione Susan S. Klein Jonathan McCall Patricia L. Pertalion Linda and Larry Guice Gar and Scottie Knight Dr. and Mrs. William McCall Jr. Carolyn and Rob Peterson Susan and Jimmy Gundlach Jamie Koch Alice and Terry McFillen Miki Pfeffer Yvonne and Oscar Gwin Karen Joan Kohoutek Thomas A. McGaw Gary Phillips Lisa Haddow Alice and John Kornovich Cameron McHarg Mr. and Mrs. R. Hunter Pierson Jr. Carol V. Hall Alice-Anne Krishnan and Bruce Kathleen McInerney Mr. and Mrs. Ronald Pincus Regina and Frank J. Hall Jr. Irino Leiza McKenna Demetrius Porche and James Dr. William Hammel Judith A. Kron Mr. and Mrs. Michael T. McLoughlin DelPrince Robert Hammer Mr. and Mrs. Garril Kueber Virginia Borah Meislahn Sylvia Todd Porteous Margaret and Woody Handy Catherine K. and William N. John P. Mellor Diana and Lawrence Powell Jonn E. Hankins Kuhlman Evelyn Merz and John Berlinghoff Nona Roddy Pratz and Clayton J. Ellen Viola Hardeman Kathleen A. Kurtz Donald K. Midkiff Borne III James P. Harold Suzanne and Joseph Robert Patrice S. and Chris L. Miller Dianne and Philip Prejean Ronald R. Harrell and M. Christian Labadot Reynold Minoli Preservation Hall / Jeanette and Mounger Lisa Labo Marilyn Mislove Benjamin Jaffe Karen Bordelon Hartwell Diane Sustendal Labouisse William Monsted The Price and Christine LeBlanc Charlotte S. Haygood Mary and Alvin LaCoste Diane Monteleone Fund Diana Hayman Elizabeth F. Lacroix Gilda H. Moore Project Home Again Foundation Daynese and Randy Haynie Philippe Lamoise Ronnie Moore Dr. Phyllis Raabe and William T. The Rev. A. J. Heine and Shannon Pamula and Louis Lanaux Dr. and Mrs. Lee Roy Morgan Jr. Abbott Payne Mr. and Mrs. David Landry Anne and James Morse Anthony Radosti Heleen Heithuis-Kuyck Kim LaPlante Cindy Morse and Bill Ives Shaun B. Rafferty George A. Hero III Mr. and Mrs. John H. Lawrence Dr. Robert F. and Christine E. Kathryn E. and Michael Rapier Kevin Herridge Shelley Lawrence Mortenson Mrs. Joseph Rault Dr. and Mrs. John Ellis Hevron Jr. Frederick Lee Lawson Andrée Moss Hal C. Reed H. Jack Hinrichs Paul J. Leaman Jr. N. West Moss Patricia K. Reed Dr. Gregor J. Hoffman Mathilde Leary Moss Family Fund Claude Reese Mary Hoffschwelle and Carroll Dr. Louis A. LeBlanc and Cheryl P. Mr. and Mrs. D. B. H. Chaffe III Kathy Reeves Van West LeBlanc Family Fund Pixie and Jimmy Reiss Mary Stewart Holder Rose M. and Edward F. LeBreton III Mr. and Mrs. Lawrence D. Garvey Retail Technology Centers Inc. Nedra Holder Mark Lescale and Al Palumbo Fund Emilie Rhys and John Heller Holzheimer Fund Barbara Ann Bourgeois Lewis and Susan Muery Regine Richter-McClain Lanier L. Hosford Constance Kathryn Bourgeois Geraldine Murphy Mary Alma Riess Debra Howell Townsend Patricia Murphy and Mark Cave Angela Marie Rinehart Vasser Howorth LinHunSco Fund Jeffrey Murray Claes Ringqvist Don Hubbard Eddie Lirette Nancy D. Murray Dr. Robert and Peggy Rives Dianne D. Huber Anna Marie Litwin Musical Arts Society of New Orleans Robert E. Zetzmann Family Mary Lynn Hyde and Steve Rossi Nancy Kittay Litwin Astrid C. Mussiett Foundation Renee K. Hylton Rockwell Livingston Julian Mutter Mr. and Mrs. John K. Roberts Jr. Julie Johnson Iavelli DeWitt Jones Lobrano Denise Nagim and Dennis Hayes L. Kyle Roberts Anne P. and Joe M. Inabenett Karla Loeb Raymond Nash Patricia Rodriguez Dr. and Mrs. Thomas M. Irwin Jr. The Honorable Edwin A. Lombard Dorothy and Anthony Navarre Lewis Rogers Dr. Bernard M. Jaffe Theodore “Ted” Longo Katrena Jackson Ndang Richard A. Rohlfing Julie and Drew Jardine Kim M. Loubat The New Orleans Jazz & Heritage Lenel B. Romero Mr. and Mrs. Erik F. Johnsen Lillian and Louis Lustenberger Festival and Foundation Inc. Yvette L. Rosen Jennifer Johnson and Susanne Rachel E. Lyons Jerry K. Nicholson Bill Rosenbaum Scovern Nell and William B. Mabry Dr. Pat O’Brien Jakob Rosenzweig, Joel Ross, and Lynn Jones Thomas Macke Juliette O’Connor Ritchie Katko Michael S. Jones John T. Magill Roger H. Ogden Bill Ross Roberta Jones Marie Elise Mahorner Kate and Michael Orlesh Jeannette Rousseau Carol Jung Brigitta L. and John F. Malm Marie Galatas Ortiz Louis R. Roussel Lally Jurcik Arthur Mann Duane Page Laura Ruiz and Nicole Ruiz Jim Kane Lynn Mann John H. Paige Eva Rumpf Bill Karydes Dr. Kenneth and Judith Lubcher Carol Layton Parsons William E. Rumpf Steffanie and Brian Keefer Margolis Ruth N. Paterson

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Thomas H. Rutter Anne Reily Sutherlin Tribute Gifts Louis Sahuc Felton Suthon Tribute gifts are given in memory or in honor of a loved one. Louise and Clif Saik Braughn Taylor Caroline Sanders Olga and Gary Teplitsky Anonymous in memory of Louis Victor de la Vergne Linda J. and John R. Sarpy Pam Foreman Testroet Ann B. Bailey in memory of Mary Louise “Mary Lou” Mossy Rita and Jerry Satawa Kathleen Thomas Christovich Save Our Cemeteries/Amanda Dr. Sarah Moody Thomas Mary Jane and John Becker in memory of Mary Louise “Mary Lou” Walker Mr. and Mrs. Jack W. Thomson Mossy Christovich Alvin Schaut Dr. and Mrs. Eugene B. Tilton Jr. Nancy S. Chandler in memory of Robert Joseph “Bobby” Killeen Jacqueline Schick Lyn J. Tomlinson Katherine de Montluzin in memory of Maxine Stiegler Lawrence Ashley Schields and Michael Sax Trapolin-Peer Architects Annette L. and Christopher Drew in memory of Maxine Stiegler Helen L. Schneidau Constance B. Traub Lawrence James Schneider Manuel C. Trelles Deborah Echeverria and Charles Hall in honor of Marc Hall Judge and Mrs. Patrick M. Schott Catherine Burns Tremaine Louise B. Fallis in honor of Dorothy Weisler Tara Schroeder Selby Powell Turner Eleanor Farnsworth in memory of Mary Louise “Mary Lou” Mossy Christovich David Schulingkamp Eugenia Uhl Eleanor Farnsworth in memory of Louis Victor de la Vergne Stanley Schwam Michael Valentino Galatoire’s Restaurant in memory of Louis Victor de la Vergne Elizabeth Lee Scott Valentino Investments Elizabeth and Eli Gay in honor of Mary Louise “Mary Lou” Mossy Juergen Seifert Lisa Vaughan and Craig Lewis Christovich Naif and Sandy Shahady Barbara D. Vaughn Thomas Hendricks in honor of Robert Ticknor Laura and Sonny Shields Mandi Verderame George E. Jordan in memory of Michel Delhaise Beth and Mike Shriner John P. Vignes Margaret Ann Turfitt Lindsey and Edward Stormont Lindsey in honor Mr. and Mrs. Barry Siegel Peggy M. and Warren P. of Martha and John E. Walker Leatrice S. Siegel Villemarette Jack T. Linn in honor of Robert Ticknor Sandy and Jack K. Simmons St. Denis J. Villere Jacquelyn Lothschuetz in memory of Mary Louise “Mary Lou” Mossy Andrew Simoncelli Robert C. Vogel Christovich Jane and William Sizeler Dr. and Mrs. Rand Voorhies Jacquelyn Lothschuetz in memory of Marjorie Anne Norvell Jacobs Mr. and Mrs. Lynes R. Sloss Susan Calhoun Waggoner Cathe Mizell-Nelson in memory of Michael Mizell-Nelson Bertie Deming Smith J. David Waggonner Rayne Memorial United Methodist Church in honor of Robert Ticknor Bruce A. Smith Martha and John E. Walker Elsa and Cole Schneider in memory of Robert Joseph “Bobby” Killeen Dr. Charles Rodney Smith and Mr. and Mrs. Thomas F. Ward E. Alexandra Stafford in honor of her parents, Mr. and Mrs. Frederick Carol H. Smith Leo Watermeier Stafford Mr. and Mrs. Fred M. Smith Patricia K. Watermeier Claire and Harry Stahel in memory of Robert Joseph “Bobby” Killeen Gail and John M. Smith Drs. Beth and Jim Wee Ninette Perrilliat Webster in memory of Robert Joseph “Bobby” Sherry Smith Dorothy R. Weisler Killeen Mrs. Charles A. Snyder David Wendt Dr. Earl J. and Jennifer Sonnier James Wesner David Speights Mr. and Mrs. H. Hunter White Jr. Rev. Carol Borne Spencer and Arnold P. Wilking Jr. Frank Spencer Norris and Bob Williams St. Charles Avenue Presbyterian Mr. and Mrs. Sterling Scott Willis Bookplates Church Betty A. Wilson Donations are used to purchase books that will be marked with a Bonnie St. Paul Edie and John M. Wilson commemorative bookplate. Jeanne Stacy Gaylord Wilson E. Alexandra Stafford and Lisa H. and Peter A. Wilson Florence M. Jumonville in memory of Manuel Vazquez—Privateering: Patriots and Profits in the War of 1812 (Johns Hopkins Books on the Raymond M. Rathlé Jr. Nancy and Charles Wilson War of 1812) by Faye M. Kert (Baltimore: Johns Hopkins University Mr. and Mrs. Harry C. Stahel The Wilson Family Fund Press, 2015) Kurt Stedje Drs. Barbara and Charles Wingo Florence M. Jumonville in memory of Mildred Vazquez—Miss Ella Glen Steeb Dr. Glenn Winter of Commander’s Palace: “I Don’t Want a Restaurant Where a Whitney Allyson Steve Nancy G. Wogan Jazz Band Can’t Come Marching Through” by Ella Brennan and Ti Paul Shott Stevens Jean Woods Adelaide Martin (Layton, UT: Gibbs Smith, 2016) Micki Beth Stiller Warren J. Woods The board of directors and staff of The Historic New Orleans Margot Stouse H. L. Dufour Woolfley Collection in memory of Robert Joseph “Bobby” Killeen—La Belle: Dr. Thomas J. Stranova Elizabeth and Hayden Wren The Archaeology of a Seventeenth-Century Ship of New World Eleanor and Philip Straub Toni Wright Colonization (Ed Rachal Foundation Nautical Archaeology Series) Ann and Dick Strub William E. Wright Jr. edited by James E. Bruseth, Amy A. Borgens, Bradford M. Jones, Mr. and Mrs. Daniel Edmond Mr. and Mrs. Charles E. Young and Eric D. Ray (College Station: Texas A&M University Press, 2017) Sullivan Nell and Robert E. Young Constance Townsend in memory of Robert Clark Bourgeois—Dick Ruth J. Summitt Sarah and George Young Cole’s War: Doolittle Raider, Hump Pilot, Air Commando (The Drs. Jane F. and Austin J. Sumner Victor D. Ziminsky Jr. American Military Experience Series) by Dennis R. Okerstrom Calhoun Sumrall (Columbia: University of Missouri Press, 2015)

20 The Historic New Orleans Collection Quarterly ON THE SCENE With Bells On

On January 9, a standing-room-only crowd gathered A at the Williams Research Center to hear artist Zarouhie Abdalian discuss her contemporary art installation Recitations (…pour le triomphe de la liberté et de l’égalité…). A. After the talk, guests ventured outside to hear the ringing bells of the installation, which sound across THNOC campuses every day at 3 p.m. B. Deputy Director Daniel Hammer; Jessie Haynes, managing director, The Helis Foundation; David Kerstein, president and CEO, Helis Oil and Gas; B C Zarouhie Abdalian; and Shane Lief C. Christopher Porché West and Hannah Chalew D. Lisa Rotondo-McCord, Charlie Tatum, Katie Pfohl, and John d’Addario. E. Jasmine Hatem and Courtney Bryan

D E

As part of the annual PhotoNOLA festival in December, The Collection hosted a talk by photographer Ashley Gilbertson as well as a screening of My Louisiana Love with filmmaker Monique Verdin. J. Monique Verdin and Amanda McFillen, associate director of museum programs K. Ashley Gilbertson and Amy Dailey Williams

F H

On November 1, THNOC hosted an evening with artist Emilie Rhys and the Preservation Hall Jazz Band. The event was held in conjunction with the exhibition Giants of Jazz (now closed). H. Rhys created a live drawing of the band as they played in the Royal Street courtyard. I. Edie and John Wilson J

G

In November, The Collection hosted an Educator Open House, for teachers and museum profes- sionals to learn about THNOC’s educational programming. F. Education Assistant Sarah McKenney, Anna Morgan Leonards, and Laureé Akinola-Massaquoi G. Curator of Education Jenny Schwartzberg, Chris Vicknair, and Keiren Aucoin I K

Spring 2018 21 ACQUISITIONS

Related Holdings ACQUISITION SPOTLIGHT A Creole Playwright, Panned Mission dramatique. Le Théâtre-FranÇais . . . 2017.0219

Victor Séjour (1817–1874) is generally recognized as a dramatist. However, he also was a poet, a short story writer, author of a serialized novel, and a lyricist. Born in New Orleans, he was the son of prosperous merchant Louis Séjour Marcou, a free Creole man from Saint Domingue, and Héloïse-Philippe Ferrand, a free woman of color born in New Orleans. The first African American to publish a short story, he became a celebrated playwright in Les cenelles: choix des poésies indigènes France and was arguably the most successful black writer of the 19th century. Departing by Armand Lanusse, editor New Orleans at age 19, Séjour went to Paris to further his education. He remained there New Orleans: H. Lauve, 1845 87-632-RL until his death, in 1874. Séjour first received literary acclaim with his poem Le retour de Napoléon, a patriotic ode inspired by seeing the French revolutionary’s remains carried through Paris upon return from Saint Helena. Originally published in Paris in 1841, the poem also appeared in the groundbreaking 1845 volume Les cenelles, the first anthology of poetry in the United States to exclusively feature works by free people of color. (It was published in New Orleans.) In 1844 Séjour made his debut as a playwright in Paris with Diégarias, known in English as The Jew of Seville. The venue was auspicious—the Théâtre-Français, one of the oldest continuously operating theaters in the world. The five-act play concerns the plight of Jacob Eliacin, a Jew, during the Spanish Inquisition. Eliacin adopts the name Diégarias Special edition of Les massacres de la Syrie: drame en huit tableaux, presented to and passes as a Christian, eventually becoming a high-ranking member of the court. After Napoleon III and featuring his coat of arms his daughter, Inès, becomes involved romantically with the nobleman Don Juan de Tello, by Victor Séjour Diégarias insists that they marry. However, his true identity is revealed to Don Juan by Paris: J. Barbré, 1861 2009.0198 a Moor. (In introducing a Moor, Séjour hinges the play’s action on all three of Spain’s main religious influences.) Don Juan then publicly humiliates Diégarias by refusing to marry Inès, and Diégarias seeks revenge, resulting in tragedy for his daughter. Doubtless borrowing from his own experience as a Creole of color, Séjour used anti-Semitism to represent racial discrimination in shap- ing the play’s dramatic arc. The Collection recently acquired a bound collection of 10 pamphlets concerning the famed Théâtre-Français, Victor Séjour published between 1838 and 1895. illustration accompanying Séjour’s obituary in Among them is this critical analysis of La Presse Illustrée, no. 341 Séjour’s Diégarias. The rare 30-page October 10, 1874 2006.0379.1 / MSS 588.1 pamphlet, dated 1844, was written by Narcisse-Honoré Cellier-Dufayel, editor of the journals Le censeur universel and Le genie des femmes. In his evaluation of the play, he provides a summary of each of the five acts and an analysis of the major char- acters. Declaring that he intends to focus on the moral consequences of the work, Cellier-Dufayel says the characters illus- trate “bad passions” and the “deadly sins” Le nozze veneziane: dramma in cinque atti of pride, lust, and wrath. He concludes by Victor Séjour Milan: Borroni e Scotti, 1855 that the play and its topics are a “shame 2006.0398.2 for public morality.” —ALFRED E. LEMMON

22 The Historic New Orleans Collection Quarterly in New Orleans in December 1856 and reigned as Rex in 1887. He presented this album to his son, Edward Everett Soulé, and daughter-in-law as a gift. —PAMELA D. ARCENEAUX

RECENT ADDITIONS Lindy Boggs gavel Souvenir of the World’s Fair and gift of Cokie Roberts, 2017.0258

Songs of the Mexican-American War Marie Corinne Morrison Claiborne “Lindy” Boggs began her political career in the 1930s and ’40s as a founding member of the Independent Women’s Organization (IWO), volunteering with the group during Sam Jones’s 1940 gubernatorial campaign and deLesseps Story “Chep” Morrison’s 1946 mayoral campaign. The IWO played a critical role in the elec- tion of both reform candidates. When her husband, Hale Boggs, was elected to the US House of Representatives, she became an active congressional spouse—running his campaigns, managing his Capitol office, The Forest City Michael C. Grumich, this large-format and serving as president of the Democratic gift of Michael C. Grumich, 2017.0327.1 album of some 240 unnumbered pages Wives’ Forum and the Woman’s National contains about 480 eight-by-ten-inch photo- Democratic Club. In these roles, she The 1904 Louisiana Purchase Exposition, graphs with captions, as well as numerous supported civil rights legislation and the war held in St. Louis’s Forest Park, commemo- double-page-spread panoramic views cover- on poverty, causes she championed as corol- rated the centennial of the massive 1803 ing every aspect of the fair’s pavilions by day laries to the “good government” political land acquisition that, in a single act, and night. Published by N. D. Thompson, reform movement of the 1930s and ’40s. doubled the area of the United States. (The a St. Louis company, the album was not the Following the death of her husband, Exposition was initially scheduled to open only photographic souvenir book commemo- Boggs was elected to fill his congressional in 1903, but the project grew bigger and rating the fair but, with its larger format and seat, in 1973, making her the first woman more complex, pushing back the opening numerous illustrations, was probably one of from Louisiana elected to Congress. Three date.) Fifty foreign countries participated in the most comprehensive and expensive ones. years later, she became the first woman to the fair by constructing exuberant pavilions, Fascinating images—of gardens, state and chair a national party convention. During mounting exhibitions of art and industry, national buildings, manufacturers’ halls, her 18 years in office, Boggs consistently and, in some cases, staging displays of art galleries and works of art on display, championed equal rights for women indigenous village life. Native American living exhibits of peoples from around the and minorities and was responsible for tribes maintained a presence during the fair world, rest facilities, children’s and women’s the inclusion of “sex and marital status” in individual camps on-site, and the fair sections, and various officials—illustrate within the protections of the Equal Credit featured exhibits from 43 of the then 45 the scale and importance of the event. All Opportunity Act of 1974—a provision states and numerous manufacturers. The of the images, notable for their sharpness Louisiana Pavilion was a replica of New and clarity, were taken by William H. Rau, Orleans’s iconic Cabildo on Jackson Square. the official photographer of the Louisiana Several publications chronicled the Purchase Exposition, with text written by marvels of the fair and its celebration of the fair’s secretary, Walter B. Stevens. Louisiana’s role in US history. Among the The Collection’s copy is signed in a most lavish was The Forest City: Comprising beautiful Spencerian hand, “To Mr. and the Official Photographic Views of the Univer- Mrs. E. E. Soulé Christmas 1904. Geo. sal Exposition Held in Saint Louis, 1904: Soulé.” George Soulé (1834–1926), a Commemorating the Acquisition of the mathematician and educator, founded Soulé Louisiana Territory. Recently donated by Commercial College and Literary Institute

Spring 2018 23 ACQUISITIONS that allowed American women, for the first The Historic New Orleans time, to receive bank credit without a male Collection uarterly cosigner. Her popularity among African Q Americans helped her win reelection an EDITOR astonishing eight times in the majority– Molly Reid Cleaver African American second congressional DIRECTOR OF PUBLICATIONS district of Louisiana. She retired from Jessica Dorman Congress—choosing not to seek another HEAD OF PHOTOGRAPHY term—in 1991. In 1997 she was appointed Keely Merritt ambassador to the Vatican, which would be ART DIRECTION her last public service position. Alison Cody Design Throughout her career, Boggs had a reputation for garnering respect and an inspiring figure for US troops and the The Historic New Orleans Collection is a admiration from her congressional peers. general public, who gave him the nickname nonprofit institution dedicated to preserving Following her retirement, the United “Old Rough and Ready.” Born in Virginia the distinctive history and culture of New States Association of Former Members of and raised in Kentucky, Taylor owned a Orleans and the Gulf South. Founded in 1966 through the Kemper and Leila Williams Congress presented her with a commemo- large plantation in Feliciana Parish, and Foundation, The Collection operates as a rative gavel on the floor of the House of he remains the only US president to reside museum, research center, and publisher in Representatives. The gavel, which bears a in Louisiana for a significant portion of the heart of the French Quarter. small plaque, was donated last year to The his life. Collection by her daughter Cokie Roberts. The Rough and Ready Songster: —ERIC SEIFERTH Embellished with Twenty-Five Splendid Engravings, Illustrative of the American The Rough and Ready Songster Victories in Mexico is a small book of patri- 2016.0284 otic songs produced in late 1847 or early 1848 by the New York–based publisher As the United States closed in on victory Nafis and Cornish. The byline credits an in the Mexican-American War (1846–48), anonymous “American officer.” No date is patriotism surged. The US would acquire listed, but the book refers to the capture roughly one-third of Mexico out of the of Mexico City in September 1847, which conflict (most of modern New Mexico, signaled the end of the war, and bears a Arizona, Utah, Nevada, and California), handwritten dedication dated February 11, fueling and fulfilling the expansionist 1848, just nine days after the signing of fervor and imperial aspirations embodied the Treaty of Guadalupe Hidalgo. Modest by the concept of manifest destiny. General enough to fit in a coat pocket, the hardcover BOARD OF DIRECTORS Zachary Taylor established a strong mili- volume contains 141 songs and 25 engrav- Drew Jardine, President John Kallenborn, Vice President tary footing in the region leading up to and ings, 10 of them full-page illustrations. E. Alexandra Stafford during the first year of the war by claim- No musical notation is given; rather, the Hilton S. Bell ing important victories at Palo Alto and lyrics are provided and are noted as set to Bonnie Boyd Resaca de la Palma. Though he became less certain well-known tunes, such as “Yankee Lisa H. Wilson involved as the war continued, he remained Doodle,” “Lucy Neale,” and “Dan Tucker.” G. Charles Lapeyre The songs celebrate victories at John E. Walker, Emeritus Monterey, Buena Vista, and more, and Fred M. Smith, Emeritus and several entries lampoon Mexican General Immediate Past President Antonio López de Santa Anna. Starting off the volume is an ode to Old Rough and EXECUTIVE DIRECTOR Priscilla Lawrence Ready himself, illustrating the war-hero

goodwill that would earn him the presi- 533 Royal Street & 410 Chartres Street dency later in 1848: “The man from whose New Orleans, Louisiana 70130 canteen he drank / Was envied and thought (504) 523-4662 lucky: / He had the brave and kind good www.hnoc.org | [email protected] heart /The honored old Kentucky.” ISSN 0886-2109 —MOLLY REID CLEAVER ©2018 The Historic New Orleans Collection

24 The Historic New Orleans Collection Quarterly Become a Member BENEFITS OF MEMBERSHIP Seize the day! All members of The Collection enjoy the following benefits for one full year: Join history in the making by • complimentary admission to all permanent tours and rotating volunteering with The Collection. exhibitions • special invitations to events, trips, receptions, and exhibition previews The Historic New Orleans Collection is currently • a 10 percent discount at The Shop at The Collection • a subscription to The Historic New Orleans Collection Quarterly interviewing for volunteer docents to assist in staffing our

HOW TO JOIN galleries, including our new museum facility in the historic Visit www.hnoc.org and click the Support Us link or complete and Seignouret-Brulatour building. Volunteers will be trained to return the enclosed envelope. share information about our exhibitions, architecture, and MEMBERSHIP LEVELS artworks, as well as conduct tours of the Williams Residence Founder Individual $35 Founder Family $65 and Royal Street complex. In addition to serving as frontline Full membership benefits Family memberships are for one or two adults and any children representatives of The Collection in the heart of the French under 18 all residing in a single household, or for one member and a guest. Quarter, volunteers are honored at several special events Merieult Society $100 throughout the year. Full membership benefits plus: • a special gift Caillot Circle Individual $125 Caillot Circle Couple $200 (ages 21–45, plus the young at heart) Full membership benefits plus: • invitations to exclusive events throughout the year (both at The Collection and off-site) Mahalia Society $250 Full membership benefits plus: • a special gift • private, guided tours (by appointment) Jackson Society $500 Full membership benefits plus: • a special gift • private, guided tours (by appointment) • free admission to all evening lectures Laussat Society $1,000 Full membership benefits plus: • a special gift • private, guided tours (by appointment) • free admission to all evening lectures • invitation to annual gala Bienville Circle $5,000 Full membership benefits plus: • a special gift • private, guided tours (by appointment) • free admission to all evening lectures • invitation to annual gala To apply, fill out our online form at www.hnoc.org/support. For more information, please contact Molly NORTH AMERICAN RECIPROCAL St. Paul, volunteer coordinator, at MUSEUM PROGRAM [email protected] or (504) 598-7139. Members at the Caillot, Merieult, Mahalia, Jackson, Laussat, and Bienville levels receive reciprocal benefits at other leading museums through the North American Reciprocal Museum (NARM) program. These benefits include free member admission, discounts on concert and lecture tickets, and discounts at the Brulatour Court New Orleans (detail) shops of participating museums. Visit www.narmassociation.org 1943; lantern slide for more information. gift of Mitchell Gaudet, 2000.107.8 ADDRESS SERVICE REQUESTED

FROM THE SHOP

Treasures of the tricentennial Join New Orleans in celebrating its 300th birthday, with commemorative items available at The Shop at The Collection. Official flag, 3' × 5', $45 for single-sided, $65 for double-sided

Marble bottle stopper, $28 Marble coaster (not pictured), $15 Trinket tray (not pictured), 4.5" × 4.5", $20

533 Royal Street, in the French Quarter The Shop Tuesday–Saturday: 9:30 a.m.–4:30 p.m. at The Collection Sunday: 10:30 a.m.–4:30 p.m. THE HISTORIC NEW ORLEANS COLLECTION (504) 598-7147 Shop online at www.hnoc.org/shop