1

Stairway, Louise S. McGehee School (printed in 1993 from 1984.189.31)

UGENE DELCROIX The Historic New Orleans Collection's exhibition, (1891-1967), a profes­ Through a Lens Softly: The Photographs of Eugene Delcroix, sional photographer for marks the first major survey of Delcroix's photographs since his five decades, created a death in 1967. Among the images in the exhibition are photo­ Ebody of work that repre­ graphs taken in connection with Delcroix's long and influential sents a single sensibility - but with association with the New Orleans Camera Club. The creamy clear divisions of form and presenta- highlights and warm brown tones of his portraiture, landscapes, tion. He worked as a portrait photographer for the local firms of and architectural subjects, together with the blurred contours C. Bennette Moore and Anthony H. Hitchler before striking and pools of light created by his soft-focus lens, suffuse out on his own in the 1930s. Although he continued to accept Delcroix's works with nostalgia and romance. Most of the pic­ portrait commissions, the subjects for which Delcroix is remem­ tures in the exhibition are made from the original negatives, bered are Vieux Carre courtyards and ironwork, rafts of water given to the Historic New Orleans Collection in 1984 by the hyacinths on the bayou, and tangles of Spanish moss descending New Orleans Museum of Art. Delcroix's negatives were a gift to from trees. In 1938, Joseph S. W Harmanson published a selec­ NOMA from Joel Jurgens and Mrs. Eugene Delcroix. tion of Delcroix's photographs, entitled Patios, Stairways, and The exhibition runs from January 18 through May 14. Iron Lace Balconies of Old New Orleans. The journal Pencil Gallery talks are scheduled each Wednesday at 12:30, beginning Points also published his photographs that same year. January 26. - John H. Lawrence andJude Solomon

2 Cart on a Foggy Road (printed in 1993 from 1984.189.54)

Rural Scene (printed in 1993 from 1984.189.2)

3 Rue d'Orleans (printed in 1993 from 1984.189.39)

4 usually toned his prints a warm amber- display. The one-hundred-foot mural brown. There is no record of Delcroix's was rendered in a simplified graphic style specific techniques or the kind of paper of only five colors. It includes the arched and chemicals he may have used; cura- and shuttered architecture of the French tors and photographers experimented Quarter on one wall and the undulating with contemporary materials until they live oaks of the Louisiana countryside on were able to reproduce the look of an the other. In the window display, actual Delcroix print. These new prints Delcroix's soft-focus technique was sug- were combined with 20 originals (bor- gested with the use of multiple trans- rowed from the New Orleans Museum lucent screens bearing the tide of the of Art and private sources, as well as from show. The lettered tide disappears into the Collection's own holdings) to make the window as though into a fog. up the bulk of the show. fu the great majority of THNOC's It was agreed that Delcroix's small, Delcroix collection is made up of the dense photographs would be best served photographer's glass negatives, the cura- rolific photographer Eugene by frames and matting that would not tors and preparators sought ways to Delcroix's romantic eye and compete with the images themselves. include these artifacts in the exhibit. soft-focus camera technique Exhibition preparators chose bronze- Carpenter Larry Falgoust constructed a helped define the popular colored frames with cream mats, all of a small, wall-mounted light box to cradle image of south Louisiana, uniform size and shape, to hang in an and to illuminate the fragile rectangles of and the Vieux Carre in particular, from even row on the wall at eye level. To glass. In order to protect the negatives the 1930s through the early 1960s. In enliven the exhibit without detracting from damaging ultraviolet light, the box 1984 the Collection acquired roughly from the photographs, they turned to includes screens of ultraviolet absorbing 5,000 of Delcroix's original glass nega- Delcroix's own images as inspiration for a plexiglass and a light switch to be activated rives from the New Orleans Museum of subtly colored mural on the Williams by gallery visitors only during the actual Art, a gift to NOMA from Joel Jurgens Gallery walls and for the front window viewing of the object. Only one negative and Mrs. Eugene Delcroix. ~. ~~-~---~-: ...,..,...... ,""T":,...,,..,,...... ,,..,,...... ,,~-----, will be displayed at a time. 1 Some 40 of these negatives were The title board for the exhi- recently chosen to be printed for bition refers to the backward Through a Lens Softly. nature of negatives - a Delcroix Typically Delcroix's photo- negative was commercially graphs were contact prints, enlarged and printed with the produced by laying the 5-x-7- show's title on a 4-x-8 sheet of inch negative directly over pho- j milky-white acrylic and mount- tographic paper without the . ed in a frame. The huge sheet, use of an enlarger. He rarely backlit with fluorescent tubes, masked the edges of his prints \ announces Through a Lens Softly crisply, preferring to create a to passersby on Royal Street. ragged deckle edge, and he Preparing the exhibit: Steve Sweet, John Lawrence, Jude So/,omon, and Doug MacCash - Doug MacCash

5 MR. JEFFERSON ATTRACTS A LARGE AUDIENCE

~·,._9-.C lf I}'~ 0 0 - ~.- A on November 10, the [ . ,,:",. · ~ Collection concluded : · - ; its series of lectures, Jefferson \ ./ at 250: The Legacy of an ·s-, z:s3o .~. American Genius, with "An '99J Eve n i n g w i t h T h o m a s Jefferson." Historian Clay Jenkinson impersonated Jefferson and answered questions in character. Speakers for the fall portion of the series were Lucia Stanton, plantation life; William Kelso, archaeology; and Dell Upton, architec­ ture. Record crowds attended the eight­ C/,ay jenkimon as Thomas Jefferson lecture series.

ffi THE HISTORIC WoooFROM ~ NEW ORLEANS f~', COLLECTION COLONIAL BARRACKS PRESERVED l~ QUARTERLY

Editors: Patricia Brady Louise C. Hoffman

idwest Freeze-Dry in Head of Photography: Jan White Brantley Skokie, Illinois, has M The Historic New Orleans Collection preserved eight pieces of Quarterly is published by the Historic New wood from the 1991 archaeo- Orleans Coll ection, which is operated 1o g i cal dig at 726-28 by the Kemper and Leila Willia m s Toulouse Street, the Foundation, a Louisiana nonprofit corpora­ tion. Housed in a complex of historic build­ Collection's creole cottage ings in the French Quarter, facilities are next to the manuscripts open co the public, Tuesday through building. The wood, in all Saturday, from 10:00 a. m. until 4:45 p.m. probability, is from the colo­ Tours of the history galleries and the resi­ dence are available for a nominal fee. nial barracks erected in the 1730s. The conservation Board of Directors: process involved reducing the Mrs. William K. Christovich, President moisture content in the G. Henry Pierson, Jr. Francis C. Doyle water-soaked wood to 12 John E. Walker percent. Yellow stains on Fred M. Smith the wood have led to specula­ tion that gunpowder was Jon Kukla, Director manufactured on the site. The Historic New Orleans Collection Preservation of the wood was 533 Royal Street made possible through the New Orleans, Louisiana 70 130 generosity of Pat King, presi­ (504) 523-4662 dent of the company. ISS N 0886-2109 © 1994 Foundation beam and vertical planks, The Historic New Orleans Collection remaim ofFren ch barracks

6 From The ~-THE YEAR AHEAD-- DIRECTOR JANUARY 18 - MAY 14 "Vind friend," a Through A Lens Softly: The Photographs ofEugene De Lero ix; gallery talks every 1"'- young Con­ Wednesday, 12:30, beginning January 26 federate wrote in MARcH29 1862, "your letter Panel on Delcroix's work: Anne Peterson, Steven Maklansky, and Joshua Pailet was a welcome 7 p.m. at the Collection greeting to me when I arrived back APRIL to the Fort.... " Celebrating the Louisiana Purchase: The young soldier's original letter arrived lecture by Dr. Eunice Williams on the work of Pierre Paul Prud'hon, 7:30 p.m. from California several weeks ago - the date and place to be announced gift of an eloquent friend of the Collection MAY12 whose own "collateral duty of a censor in Slide presentation by Richard Sexton and Randolph Delahanty, authors of World War II" inspired reflections about New Orleans: Elegance and Decadence life, letters, and history. "Like most 7:30 p.m. at the Collection soldiers' letters," our friend observed, MAY 24 - AUGUST 20 it bears no historical moment and its Exhibition: From Bank to Shore: 19th-Century Development of value is largely emotional, but it New Orleans Neighborhoods touched me in a way I would hope that it would touch others .... I was SEPTEMBER 13 - DECEMBER 10 struck by the similarity of battlefield Exhibition: The Grand American Avenue phrases in this ancient letter penned DECEMBER 20 - FEBRUARY 24, 1995 by a young man who was to die in Exhibition: Mardi Gras Design and Process front of Seven Pines not long after [in August 1865]. Wars do not change in their cruelty. Most of the people in rhem are lost in one way or anorher. Our writer is a poignant example. WINNING This is what gives rhis letter value for me. I found in this old letter the same LETTERS ironies, the same desire to be loved for bravery, rhat I found so often in orher responded to the same letter written by soldiers' letters of another day and James Murphy, New Orleans, to his wife, time. I found rhe same empty patrio­ Florence Murphy, Thibodaux, September tism. For this reason, ... I wanted to 17, 1874. The second-place winner from leave it where it would be cared for. Destrehan High School was Lesliam Please accept it. Quiros. Her entry, written in Spanish, The year ahead promises visitors responded to a letter from Pedro and researchers a full calendar of exhibi­ Friedeberg, Mexico City, to George tions and events of historical moment, The Collection has announced the fol­ Febres, New Orleans, dated March 15, emotional value, thoughtful discoveries, .l lowing winners in the Exemplary 1993. The second-place winner from Karr and occasional merriment. Behind the Epistle Contest which accompanied the Junior High School was Jay Cahill, who scenes, talented people will be preserv­ exhibition Letter Perfect: Three Centuries of replied as Jean Lafitte to Edward Nicholls's ing, studying, and explaining the trea­ Louisiana Correspondence. Winners in the letter written September 1814. sures entrusted to our care - many of student category were awarded to The winner in the adult category is them gifts like this Civil War letter that Gwendolyn Jennings from the 11th-grade Jacque Nicholson of Wilburton, Okla­ closed "with a Sincere wish for your American literature class at Destrehan homa. Her letter to "Dear Nancy" was health and happiness, and thanks for High School and to Brad Nolan from the inspired by a letter written by Nancy B. your Kind interest." 8th-grade Louisiana history class at Edna Phelps, Bombay, India, to her sister-in-law -JonKuk/,a Karr Junior High School. Both students Almira, New Orleans, February 22, 1859.

7 Robert R. R. Dumars/ Union Soldier

R. R. R Dumars (92-60-L)

he colorful personalities of notable figures make it easy to forget that the outcome of events is determined by the D contributions of countless ordinary people, whose perceptions and experiences are, more often then not, left unrecorded. The letters of Robert R. R. Surrender ofPort Hudson, July 8, 1863 (1972.26) Dumars, a recent acquisition of the man­ the siege of Port Hudson, are written with encountered hundreds of orange groves, uscripts division, provide a rare opportu­ journalistic clarity and were intended for all loaded with "ripe and yellow fruit." nity to show important events, not publication in the Elmira Daily Press. The Captain Dumars sampled some the fol­ through the eyes of a general or a politi­ correspondence begins November 20, lowing day, buying five oranges for a cal leader, but through the reflections of 1862, with Captain Dumars in New York dime from a peddler who had rowed up an intelligent participant. City waiting to embark on an expedition, to the steamer in a skiff. He mentions Born in Pittsburgh, Pennsylvania, the nature of which was a mystery to that he never realized an orange could be on January 27, 1820, Dumars worked as him. On December 3, 1862, he and so juicy and sweet, having eaten only the a printer for several newspapers in that 1300 other soldiers boarded the steamer "dried up, tasteless" variety up north. city. In 1853 he and his family moved to Northern Light to begin an 11 -day voyage The vessel met the other five steamers in Elmira, New York, a small town near the on the Atlantic Ocean that would bring the expedition and anchored in New Pennsylvania border, where he and sever­ them to Louisiana. Spending his after­ Orleans on the Algiers side of the river. al business partners established the noons on the deck of the ship, he was They stayed only one night, leaving the Elmira Daily Press. In September 1862, impressed with the great expanses of following day for Baton Rouge. he left the newspaper business and vol­ water that surrounded him and fascinated For the following five months, unteered for service in the Union army. by the flying fish and porpoises. Captain Dumars and those of his com­ He was mustered in with the rank of cap­ During the voyage, rumors circulat­ pany lived rather uneventful lives in Baton tain in command of Company C, 161st ed regarding their destination, but it was Rouge. They watched the Confederate Regiment, New York. not until the vessel entered the mouth of stronghold at Port Hudson, about 25 The bulk of his correspondence con­ the Mississippi that Captain Dumars had miles to the north, and waited for a con­ s is ts of detailed letters to his wife, any real sense of where his company was flict, the outcome of which, along with Henrietta, describing his day-to-day headed. On Sunday afternoon, December the capture of Vicksburg, would cut the experiences during the war. Some of the 14, 1862, they traveled upriver to Confederacy's link to the West and give letters, particularly those written during New Orleans. Along the river they control of the Mississippi to the Union.

8 Port Hudson and its Defenses (1950.58.2)

were so contented in the midst of the "deafening roar" of cannon fire. Within a week there was fierce fighting. In a hasti­ ly written letter of May 29, 1863, he comments that he has been under almost constant gunfire for the past 24 hours. A little over a week later he was still dodg­ ing bullets, writing his letter of June 8 sheltered from Confederate sharpshooter fire by the trunk of a magnolia tree. This violence continued off and on until the Camp life seemed to agree with him. He primarily of black soldiers, arrived in surrender of Port Hudson on July 9, mentions having fresh-cut flowers deliv­ Baton Rouge, Captain Dumars made it a 1863. Although the cost of life was great ered to his tent - some he pressed and point to visit their encampment. He on both sides, Captain Dumars made it enclosed in letters to his wife. He thought expressed concern for the local families through unscathed and mentioned losing of food often, commenting on strawber­ uprooted because of the war and admired only one member of his company. His ries in March, blackberry picking during their dedication to their cause. He took descriptions of the pageantry of the sur­ the siege of Port Hudson, and in a letter an active interest in the personal lives of render are artfully written and express dated May 10, 1863, describing his din­ the men in his company, and, with the both sympathy for the enemy and excite­ ner - fried mackerel, potatoes, bread and help of his wife, saw to it that they all ment over the Union victory. butter, apple sauce, pickles, radishes, and received mail from home. Following the engagement, he spent blackberry pie. He tried to keep regular On May 8, 1863, mortar boats of a brief time in Donaldsonville before habits, spending his time preparing for the Lower Federal Fleet began a regular returning to Elmira, where he was placed sanitation inspections, serving on picket bombardment of Port Hudson, which in charge of a company of Confederate duty, visiting the sick, reading newspapers was to continue until June 18. In his let­ prisoners. After the war he worked as an when they were available, and writing to ter of May 11, 1863, Dumars indicates editor for the Elmira Weekly Advertiser his wife. that he was ordered to prepare to march and became active in local politics. There is something very likable the following day. There was a rumor the Dumars, a well-liked member of his about Captain Dumars. Confronted with place was evacuated and all that was nec­ community, died August 5, 1888. the possibility of a violent conflict with essary was to take possession of it. They - Mark Cave Confederate forces, his apparent light­ soon found this to be untrue when they heartedness seems odd but was undoubt­ took up a position about four miles to Sources: Mark M. Boamer III, The Civil ~r edly a comfort to his wife and children, as the south of Port Hudson. Dictionary(NewYork, 1959);JohnD. Winters, well as the men in his company. When On Sunday May 17, 1863, he The Civil ~r In Louisiana (Baton Rouge, the 3rd Louisiana Regiment, made up remarks how strange it was that his men 1963); Elmira Weekly Advertiser, Aug. 10, 1888.

9 THE HISTORIC NEW • A photograph of ORLEANS COLLECTION jazz pianist Eubie encourages research in the Blake is the gift library, manuscripts, and of Mr. and Mrs. curatorial divisions of its Hartwig Moss III. research center from 10:00 • The Newport a.m. to 4:30 p.m. Tuesday (Rhode Island) through Saturday (except Historical Society has holidays). Cataloged materials available donated a packet of to researchers include books, manu­ ten postcard views of scripts, paintings, prints, drawings, maps, the French Quarter photographs, and artifacts about the his­ from its collection. tory and culture of New Orleans, • Other gifts are Louisiana, and the Gulf South. Each year from: Florence Parker the Collection adds thousands of items to Whitten (photo­ its holdings by donation or purchase. graphs of local politi­ Only a few recent acquisitions can be cal activities from the noted here. mid-20th century); Margaret Smith CURATORIAL Roark (early 20th­ century souvenir view Photographic images constitute the booklet); Mrs. Frazer largest single collection within the divi­ Rice (photographs of sion. The prints, negatives, and motion Mardi Gras); and pictures record milestones of local histo­ Lloyd Ray (photo­ ry as well as the fabric of everyday living. graph of the interior Gifts of photographs made during the of the French Opera last quarter include: House). Portrait of Alberta Kinsey by James Lamantia • Elinor Bright Richardson's donation • A Marbrie pottery jug, given by John (1993.108.7) of 183 photographs. These images con­ W. Keefe, documents the commerce • Also acquired are paintings by several stitute a family portrait and document between England's Staffordshire potteries artists whose works survive only in limited Mrs. Richardson's social activities. and New Orleans. numbers. These include a portrait titled • Photographs and other items per­ • James Lamantia has donated some La Creole, painted in 1845 by Alfred L. taining to the personal and professional of his early works, including ink Boisseau, who exhibited the painting at life of A. B. Paterson, head of New sketches of Phoebe Giles Williams and the 1848 Paris salon. Interior Scene by Orleans Public Service for many years, the 1954 Rex Court, one of long-time Julia M. Massie appears to be an Acadian donated by his daughter, Mrs. Eugene gallery owner Ed Wiegand, and an oil cottage with a spinning wheel, red pep­ H. Countiss. portrait of French Quarter artist pers drying by the fire, cast-iron cooking • Roy Cappel, a youngster present at Alberta Kinsey. vessels in the fireplace, and laundry hang­ the moving of a portion of Charity • Through the bequest of Rose Bud ing inside the cabin. A small gouache Hospital on steel rollers, has donated the Hollingsworth Lindauer, the Collection sketch of the Cabildo was painted in 1905 early 1930s motion-picture film of that has received a large oil portrait of Algiers by artist-musician John Peter Pemberton, engineering feat. The footage also fea­ shipbuilder Owen Roper, painted by who taught drawing in the architecture tures a brief appearance by Huey P. Long. John Antrobus from a cabinet-card school of Tulane University during the • Though primarily associated with photograph in 1874. Antrobus makes first decade of this century. Old Newcomb New Orleans, photographer Clarence appropriate references to Roper's profes­ Chapel was executed after the turn of the John Laughlin chose to be buried in sion by the inclusion of a carpenter's century by Edith M. Sansam, one of the Paris. Michael P. Smith has donated a plane, a compass, and an open window few female art teachers outside Newcomb photograph of Laughlin's tomb in Pere showing ships at anchor in the bend of College during those years. Lachaise Cemetery. the river. - Judith H Bonner andjohn H Lawrence

10 I Top, La Creole by Alfred L. Boisseau (1993.75. l}; above right, Eubie Blake by johnny Dannels (1993.98}; left, Clarence john Laughlin's tomb in Pere Lachaise Cemetery by Michael P. Smith (1993.91)

11 LIBRARY

• William Jennings cocktail," turtle soup, listen. The library has just acquired Long (1899- 1970), broiled pompano, Dominique Rouquette's copy of Histoire local preservationist, truffles, roasted quail Naturelle des Oiseaux (Paris, 1772), worked tirelessly to and snipe, and apricot a book about birds, which bears defeat the proposed brandy. his bookplate. riverfront expressway Historian Richard - Pamela D. Arceneaux in the French Quarter Collin, wrote a week­ during the 1960s. In ly restaurant column MANUSCRIPTS the early 1920s, he was in the New Orleans a set and costume States-Item and a John [Johannes] D. Fieber, the son of designer in New York best-selling restau­ immigrants from Wurtemburg, and soon after became rant guide, The New Germany, was born in 1840 in Indiana assistant art director at Orleans Underground and raised in Albion, Illinois. On Le Petit Theatre du Gourmet. He and his August 14, 1862, he enlisted in the 87th Vieux Carre. He was wife, Rima Reck, Illinois Infantry Volunteers, Company also a widely exhibited authored The New H, and served as both sergeant and 1st sculptor who worked (1993-404-RL) Orleans Cookbook. lieutenant. His military career brought chiefly in wood and ivory. As a journalist, They recently donated their collection of him to Louisiana. Seven letters, written he edited the New Orleans Journal of approximately 900 menus, brochures, between November 1862 and January Commerce, 1922-1927, and was chief and flyers related to area restaurants from 1864, trace his activities from Camp editorial writer for the Chicago Journal of the late 1950s through the 1980s. Logan, near Shawneetown, Illinois, to Commerce, 1929-1938. • Father Adrien Rouquette (1813- Camp New Carrollton and Franklin, He edited and published the Vieux 1887), known among the Choctaw as Louisiana. In a letter dated November Carre Courier from 1961 through 1969, "Chahta-Ima," was and with his wife, Edith, one of the first recognized not employees of the Collection, contributed only for his work many articles on the French Quarter. with the Indians William Long's personal copies of the bur also for his Vieux Carre Courier, a complete run of poetry. His the paper, bound into two volumes plus older brother, various loose issues, were recent gifts. Dominique • Menus enhance the collection of Rouquette ephemera. Those printed for special occa­ (1810-1890), sions are often lavishly illustrated and list also wrote mouth-watering dishes. An and was influ­ 1892 menu commemorating the 15th enced by the annual reunion of the Association of the Choctaw of Army of Tennessee, Louisiana Division, Bayou Lacombe. features a portrait of P. G. T. Beauregard Well-educated, Dominique tried to Trade card, J. B. Judlin, Cheap Family Groceries, on its cover. "Rations" listed inside make a living practicing law and teaching Wines, and Liquors, 300 Decatur Street. include shrimp bisque, broiled pompano, but was unsuccessful. He visited France (See page 13) "chicken patties a la Winnie Davis," beef, several times, managing to publish some 13, 1862, to his brother Uly, Fieber turkey, ham, assorted cakes, and fruits. of his poetry there to critical acclaim. expressed his discouragement over lack "After Rations" came the presidential Some of his works include Les of pay. New pants were slow in coming. address and a succession of toasts, each Meschacebeennes (1839) and Fleurs He reported on the battle injuries that accompanied by war-era music. d'Amerique: Poesies Nouvelles (1857). In were aggravated by outbreaks of yellow A menu from Galatoire's dated his later years he became something of an jaundice, and he anxiously awaited news January 29, 1910, pictures a fashionable eccentric vagabond, wandering about the from home. Fieber's letters provide a lady amused by the antics of a little mon­ streets of New Orleans dressed in rags, welcome addition to the division's key. The fare in,cludes a "merry widow reciting his poetry to anyone who would extensive holdings of New Orleans

12 German organizations and to the hold­ MEMORIAM ings of letters from Union soldiers, most IN of them from New England. AMUEL WILSON, JR., architect, schol­ donated the contract book (1804-1821) • A recently acquired collection of Sar, historian, and donor to the of surveyor and architect Barthelemy admit cards, banquet tickets, business Collection, died on October 21, 1993. Lafon, also housed in the manuscripts cards, and raffle tickets documents a Mr. Wilson's firm, Koch and Wilson, division. Other donations from Mr. variety of social and business activities in was responsible for the original renova­ Wilson are in the library and the curato­ New Orleans for the years 1854 through tion and restoration work on the rial division. 1891. Included are admit cards to bene­ Collection's Royal Street complex of Mr. Wilson brought an unequalled fit events for Clay Square, the Ladies buildings for General and Mrs. L. commitment to the understanding and Hebrew Charitable Association, the St. Kemper Williams. Mr. Wilson was a preservation of New Orleans architec­ Joseph's Orphan Asylum, and St. generous donor to THNOC for many ture. At the time of his death, he was Elizabeth's Orphan Asylum. Another years. Two collections in the manu­ editing the mid-19th-century diary of admit card is for the "Grand Fancy scripts division have been formed from Thomas K. Wharton, to be published Dress Calico & Mask Ball" given by the his donations: the Samuel Wilson, Jr., by the Collection. Wharton supervised Washington Benevolent Association on City of New Orleans Collection, 1782- the construction of the New Orleans November 20, 1880. Some admit cards 1974, containing documents related to Customhouse on Canal Street. In 1986, come from German festivities such as the official business of the City of New THNOC published another work edit­ the "Grand Family Feast" in 1878, host­ Orleans; and the Samuel Wilson, Jr. , St. ed by Mr. Wilson, Southern Travels: ed by the German Men's Benevolent Louis Cathedral Collection, 1808-1852 Journal ofJohn H B. Latrobe, 1834. Society, and the "Christmas Festival and - correspondence, documents, con­ The board of directors and the staff Entertainment" presented by the tracts, expenses, and receipts concerning of the Collection mourn the loss of a Germania Turn-Verein on Christmas the official business of the cathedral. He good and generous friend. evening, 1879. Business cards from F. S. Ganter, a purveyor of reclining chairs, J. B. Judlin, known for "Cheap Family DONORS: JULY - SEPTEMBER 1993 Groceries," and C. Brand's Bakery all depict products for sale. Marilyn Barnett Mrs. Garrett H . Martin - Alfred E. Lemmon Arthur R. Bedient Kevin McCaffrey Roy Cappel Mr. and Mrs. Hartwig Moss III Center for African and Barbara Muniot African American Studies Mrs. A. W Mysing Center for Louisiana Studies Neil Martin Nehrbass Richard and Rima Collin Newport Historical Society Mrs. Eugene H. Countiss Shirley O'Dwyer Charles J. Cox Maida Owens Claire de la Vergne Faye Phillips Winston De Ville Mrs. Henry C. Pitot Maureen Donnelly Kathryn F. Prechter James E. Fitzmorris, Jr. Mrs. Lloyd Ray Samuel A. Floyd, Jr. Cornelius Joseph Regan John Gehl Mrs. Frazer Rice Tracy Hendrix, Jr. Elinor Bright Richardson hris Thomson, senior furniture Mrs. Lloyd Hunter Margaret Smith Roark Cconservator with the Society for James Janssen Jay Smith the Preservation of New England Jefferson Parish Historical Michael P. Smith Antiquities, came to the Collection in Commission Evan R. Soule the fall to work on furniture in the Leslie Johnston Consuela Stewart Williams Residence. Treatment includ­ John W Keefe Irma Stiegler ed cleaning, reattachment and replace­ James Lamantia Amy Thomson ment of veneers, repairs to finishes, John H. Lawrence Richard Trotter inpainting, and stabilization of flaking Dr. Alfred E. Lemmon Florence Parker Whitten painting surfaces. Bernard J. Manning Samuel Wilson, Jr.

13 Collections," and Priscilla Lawrence, Cathedral at the annual meeting of the collections manager, presented American Musicological Society in "Formulating and Writing a Montreal. He was appointed chairman of Collection's Manage­ the international archival affairs commit­ ment Policy." tee of the Society of American Archivists. Jon Kukla attended Kathy Slimp, financial administrator, is a the annual meeting of the member of the executive board of the American Historical Friends of the New Orleans Public Library. Association in San Francisco in January MEDIA where he participated in a Elsa Schneider, public relations s e s s i o n , "Ac ad e m i c director, coordinated a series of readings Larceny: Plagiarism, for the WRBH-Radio program, "Legend Misuse, and Derivation in Has It." Staff members read selected Historical Scholarship." He. :is~a: l:s:o~a~-~l:e:tt:e;r~s ~f:ro~m:,~L:e:tt~e~r--::;~;:-1 PUBLICATIONS member of the Visual Arts• The Encyclopedia of the North Visiting Committee of American Colonies, recently published by Loyola University. Charles Scribner's Sons, includes an essay Dr. Patricia Brady, on the Chesapeake colonies by Dr. Jon director of publications, is Kukla and one on art in colonial the incoming president of the Louisiana by curator Judith H. Bonner. New Orleans/Gulf South John Magill, curator, and Bettie Booksellers Association. She recently attended the annual meeting of the Association for Documentary Editing in - , . } h ton and]anBrantley Priscilla Lawrence, Leslie o ns ' Philadelphia. John Lawrence spoke to the art department at the University of Mississippi on Perfect: Three Centuries of Louisiana careers in arts administration. He also Correspondence, the Collection's fall exhi­ served as a juror for the undergraduate art bition. The letters were read by Pamela exhibition at LSU and had photographs Arceneaux, Patricia Brady, Louise displayed at the Contemporary Arts Hoffman, Jon Kukla, John Lawrence, Center in the exhibition Glass & Iron. Doug MacCash, Chuck Patch, Stan John Magi.ll Doug MacCash, preparator, wrote the Ritchey, Elsa Schneider, and Steve Sweet. catalogue essay for the Center's exhibition. Jon Kukla was interviewed Pendley, education department, con­ Leslie Johnston, documentation for "Steppin' Out," a weekly program tributed articles to Preservation in Print. coordinator, presented a paper, "The on WYES-TV, produced by Peggy John Magill also served as editorial assis­ CIMI Consortium - Its History, Scott Laborde. tant for Classic New Orleans. The book, Activities, and Goals," at the annual published last fall , was a project of the Museum Computer Network (MCN) CHANGES Preservation Resource Center. Louise conference in Seattle and coordinated a Judith Bonner and John Magill Hoffman, editor, contributed an article panel, "Imaging Applications for Object were recently promoted to curator. to Cultural Vistas. John H. Lawrence, Collections." Chuck Patch, director of Theresa Lefevre (B.A., Northwestern director of museum programs, and systems, traveled to the Wharton School State University of Louisiana) has been Judith Bonner contributed reviews to of Business at the University of named registrar of manuscripts. New Orleans Art Review. Pennsylvania to work on a multimedia system for use with the Clarence John SPEECHES PROFESSIONAL ACTIVITIES Laughlin Collection. He also attended Judith Bonner presented a lecture At the annual m ee ting of the the MCN conference in Seattle. on art in 19 30s New O deans to the Southeastern Museums Conference in Dr. Alfred E. Lemmon, curator of Louisiana Historical Society. Patricia Norfolk, Jan Brantley, head of photogra­ manuscripts, presented a paper on music Brady spoke on the art of letters to the phy, gave a talk, "Photographing during the Spanish period at the St. Louis Entre Nous Book Club.

14 THE SHOP

Hair jewelry

Michael Ledet mong the selection of fine antique A jewelry offered by the Shop are GOLD AWARD examples of hair jewelry, which became fashionable in the 19th century, particu­ t its annual meeting last fall the Nelly Custis Lewis's Housekeeping Book; larly in Victorian England. Many pieces A Southeastern Museums Conference Southern Travels: journal ofjohn H. B. of hair jewelry were associated with announced the winners in the 1993 Latrobe, 1834; Encyclopaedia of New mourning. These nostalgic items incor­ SEMC publication design competition, Orleans Artists, 1718-1918; Bibliography porated woven hair that was enhanced with the Historic New Orleans Collection of New Orleans Imprints, 1764-1864; by jet stones, black enamel, and other Quarterly receiving the gold award in the Before Disaster Strikes; and A Guide to the decorations to create a lasting memento newsletter category, an honor THNOC Papers of Pierre Clement Laussat. Both of the deceased. Similar items of shared with another publication. The Bound to Please and Southern Travels Louisiana mourning jewelry were shown winning issue was designed by Michael received awards for design excellence. in the mini-exhibit Gone But Not Ledet. The award came during the An artist as well as a graphic designer, Forgotten: Tokens ofImmortality. Quarterly's tenth anniversary year. The Mr. Ledet regularly exhibits at New first issue appeared in January 1983 and Orleans art galleries. was also designed by Michael Ledet. He has designed most of the books published by the Collection, as well as a number of catalogues. His credits include Boyd Cruise, his first pro­ ject for the Collection (1976); Bound to Please: Selected Rare Books About Louisiana from the Historic New Orleans Collection; Orleans Gallery: The Founders;

PHOTO CREDITS Jan White Brantley Libby Nevinger A book about the Collection's buildings, designed by Michael Leder, will be Cornelius Regan published this year. Pictured above is the Merieult House by Jim Blanchard (1993.38.5).

15