Volume XXIII, Number 3 Summer 2005
PRINTMAKING In
New Orleans�
P rintmaking in New Orleans, a jointpublication of The Historic NewOrleans Collection and the
University Press of Mississippi, is the firstbook to survey the history of prints andrelated media associated with New Orleansand Louisiana.
The book’s fourteen essays—eachoriginally presented at a session of theNorth American Print Conference co-sponsored by The Historic New OrleansCollection, the New Orleans Museum ofArt, and the Louisiana State Museum—address different aspects of the art and craft
of printmaking. In the process, they illu-minate the history of the city and region:European exploration; urban development;architecture; commerce; transportation;religion; politics; music; Mardi Gras; food-ways; changing technologies; and changingartistic tastes. Prints are documents ofeveryday life—documents uniquely suitedto capture the particularity and rich com-plexity of life in New Orleans.
By and large, local and regional print-makers did not produce elaborate pictorialimages in the manner of Currier and Ives orLouis Prang—images designed to enhancethe parlors and offices of middle-classAmerica. Instead, many local artists spe-cialized in genres often overlooked in broadsurveys of the history of prints. Few locales,for instance, can match New Orleans in theproduction of sheet music. The fantasyworld of Mardi Gras imagery is almostpurely a local phenomenon. And while othercities may have produced product labels ofsimilar vintage and quality, those created inNew Orleans reflect its specialized indus-tries and tastes. Illustrations of buildings—whether large chromolithographs orsmall-scale illustrations on letterheads andinvoice forms—present unique neighbor-hood vistas. Over the centuries, NewOrleans printmakers have captured theincomparable character, history, and pop-ular culture of the region. Printmaking inNew Orleans introduces their art to abroader audience.
The book is dedicated to the memoryof John A. Mahé II (1948–1991), formersenior curator at The Historic New OrleansCollection and organizer of the 1987 printconference. The images reproduced herecan only hint at the rich treasury of materi-als displayed and discussed in this longawaited volume. (For ordering informa-tion, see page 15.)
—drawn from editor Jessie Poesch’sintroduction to the book
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A Season for ArtPrintmaking in New Orleans Scheduled for Fall Delivery
REFLECTING NEW ORLEANS’S THRIVING 19TH-CENTURYSHEET MUSIC INDUSTRY…
“The Picayune Frog Polka” by Alphonse Barra, 1894. M. F. Dunn and Bro., lithographer and engraver.Chromolithograph (86-1542-RL). As both Jessie Poesch and Alfred Lemmon observe in their essays, sheetmusic covers reflect the developing profile of the city and the expanding commercial potential of printmaking.The New Orleans Daily Picayune’s weather frog was introduced on January 13, 1894, to accompany thedaily forecast. After an absence of approximately 19 years, the weather frog was reintroduced on July 6,1955, and appears to this day in the Times-Picayune.
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TRANSFORMING PRODUCT LABELS INTO WORKS OF ART…Introduction: Printmaking in New OrleansJessie J. Poesch
Publicizing a Vast New Land: VisualPropaganda for Attracting Coloniststo Eighteenth-Century LouisianaGay M. Gomez
Walking the Streets of New Orleans:Printed Maps and Street ScenesJohn A. Mahé II
“The Art Preservative of All Arts”: Early Printing in New OrleansFlorence M. Jumonville
A Pelican’s-Eye View: The UrbanGrowth of New Orleans Through Bird’s-Eye ViewsJohn Magill
A New Plane: Pre-Civil WarLithography in New OrleansPriscilla Lawrence
Playing New Orleans: The City’s Neighborhoods and Sheet MusicAlfred E. Lemmon
A Louisiana Architect’s Prints andDrawings: The Works of Marie AdrienPersac, 1832-1873Barbara SoRelle Bacot
Jules Lion, F.M.C.: LithographerExtraordinairePatricia Brady
Local Color: Chromolithography in New OrleansKellye M. Rosenheim
Illustrated Periodicals in Post-Civil War New OrleansJudith H. Bonner
Morris Henry Hobbs: In Old New OrleansClaudia Kheel
Purist Aesthetic and Tradition inClarence John Laughlin’sPhotographs: Solid Foundations forthe Third World of PhotographyJohn H. Lawrence
Twentieth-CenturyArtists/Printmakers in New OrleansEarl Retif
Caroline Durieux: Louisiana’s MasterPrintmaker for the Twentieth CenturyH. Parrott Bacot
T H E C H A P T E R S
View of Jackson Square, NewOrleans, Louisiana by Pessou andSimon, 1855. Color lithograph(1948.3). Priscilla Lawrence’s chapter on pre-Civil War lithographytraces the careers of many of NewOrleans’s earliest lithographers, suchas Louis Lucien Pessou and BenedictSimon, P. Langlumé, J. B. Pointel duPortail, Jules Manouvrier, PaulCavailler, and Louis Xavier Magny.
SHOWCASING THE TALENTS OF NOTED LOUISIANA ARTISTS…
ILLUMINATING THE HISTORY OF THE REGION…
Can label for Woman’s Club Brand Coffee by Walle and Co., Ltd., lithographer; Susus Frederick VonEhren, probable designer, between 1916 and 1920. Chromolithograph (1979.369.25). Commercialproduct labels are rich resources for historians of printmaking—and perhaps no product can match coffeeas a stimulus to scholars and to the local economy. Whereas 19th-century consumers bought freshly groundcoffee from local grocers in plain brown paper bags, 20th-century consumers began to select among brandsof packaged coffee distinguished by unique colorful labels. Jessie Poesch surveys product labels in herintroduction, and Kellye Rosenheim discusses their manufacture in her chapter on chromolithography.
Eliza Field, Eliza Dubourg Field, andOdile Field by Jules Lion, 1838.Lithograph (1970.11.141). Patricia Bradydiscusses the artistic contributions of JulesLion, a prolific antebellum lithographerknown for his portraits of leadingLouisianians.
The Solidity of Shadows, Number One by ClarenceJohn Laughlin, 1953. Photoprint (1981.247.1.1080).John Lawrence’s chapter on the photographic work ofClarence John Laughlin explores the purist aspects ofLaughlin’s photographs rather than the manipulated workfor which he is better known, arguing that Laughlin’sability to work within a strong, almost rigid tradition andstill speak with distinction and clarity is what made hima visionary.
In the last quarter of the 19th century,planned recreational areas, often situ-ated near bodies of water, rose up across
the country. Bucktown, situated on LakePontchartrain, offered New Orleanians theopportunity to swim, fish, boat, dine atseafood restaurants, and attend annual boatraces. At the peak of its popularity as aresort community, in the early 20th cen-tury, Bucktown welcomed an influx ofvacationers who rented camps for week-ends or entire summers. Many arrived bythe West End streetcar, which departedfrom its terminal at South Rampart andCanal Streets, headed out Canal toward thecemeteries, turned left toward the NewBasin Canal, then continued out along thecanal to the lake. Among the area’s land-marks are Bruning’s, the only survivingrestaurant from the period, and the familyhome built by Captain John C. Bruning, aself-appointed lifeguard for the childrenplaying beneath camps, catching minnows,and building sandcastles.
Jeannette Boutall Woest, a member ofthe Bruning family, grew up in Bucktownduring its heyday as a recreation site. As thecommunity began to change in the mid-20th century, Woest, a self-taught artist,documented the Bucktown of her youth inwatercolor sketches and in journals.Through the generosity of the artist’sdaughter, Dianne Audrey Woest, a numberof these paintings and diaries have beendonated to The Historic New OrleansCollection and a fellowship in the arts andhumanities established.
The Dianne Woest bequest includes 67views of Bucktown, West End, and otherneighborhoods painted by Jeannette Woestfrom the 1960s through the 1980s. Theartist’s sensitivity to change is evident inher paintings of lakefront landmarks:Bruning’s, Fitzgerald’s, Swanson’s, andMaggie and Smitty’s restaurants; the GapBridge, Breakwater Drive, and Shell Road;the 17th Street and New Basin Canals; theSouthern Yacht Club, the fountain at West
End, and Shultz’s Fresh Hardware. In 1966,Woest’s paintings were displayed at theInternational Trade Mart and featured inDixie-Roto magazine.
In addition to Bucktown and the lake-front, Woest captured the CentralBusiness District in paintings of theODECO Building, the Plaza Tower, theInternational Trade Mart, the AmericanBank, Hibernia Bank, Porter’s, Sears,Barnett’s, and Factors Row. Other worksrecorded current events, such as hurricanesBesty and Camille; aware of the documen-tary function of her art, Woest often affixednewspaper articles to the backs of her paint-ings to provide historical context. Herdaughter’s gift to The Collection helpsensure that memories of Bucktown andother New Orleans neighborhoods willnot fade.
—Judith H. Bonner
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West End by Jeannette Boutall Woest, September 11, 1966(2005.0210.2.8)
Houses at Bucktown by Jeannette Boutall Woest, September 10, 1966(2005.0210.2.25)
The Sunday after Camille by Jeannette Boutall Woest, August 24, 1969(2005.0210.2.21)
Big House: All Cleaned Up after Betsy by Jeannette Boutall Woest, May 22, 1966 (2005.0210.2.3)
BUCKTOWN REMEMBEREDThe Art of Jeannette Boutall Woest
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FROM THE DIRECTOR
Any museum professional will tell of the joyassociated with an exhibition that drawsthrongs of visitors from both near and far.
Curators, preparators, registrars, and docents alikeexperience a sense of accomplishment—months of hard work are real-ized when the story being told piques the interest of the public. Such isthe state of the staff of The Collection this summer with the over-whelming success of The Terrible and the Brave: The Battles for NewOrleans, 1814-1815.
The excitement carries over and continues to build as we planCommon Routes: St. Domingue • Louisiana—a year-long celebration ofthe connections between Louisiana and St. Domingue (Haiti), theCaribbean nation whose complex history is inextricably intertwinedwith our own. Featuring a symposium (February 4, 2006) and agroundbreaking exhibition (January 31–May 28, 2006) with an accom-panying catalogue, the year’s programming promises to enthrall bothresidents and tourists. Drawing on the knowledge and support of adiverse advisory committee and forming partnerships with communityorganizations and schools throughout the region, The Collection plansto bring about a city-wide celebration of the compelling story of St.Domingue and Louisiana.
Called Hayti by the Taino and Arawak people who lived there priorto European contact, the island became known as Hispañola afterColumbus’s discovery. In time, Hispañola was colonized by both theSpanish and the French under the name Santo Domingo/St. Domingue.With the successful revolution on the island (1791–1804), the Frenchcolonial period ended and a new republic was formed. Named Haiti,the country was not only the first established by slave revolt, but also thesecond independent nation founded in the New World.
Native French, St. Domingue citizens (both free black and white),and African slaves fled the island during the revolutionary period andfor nearly a decade following it, settling in Cuba and the United States.Some 20,000 of these émigrés came to Louisiana, directly or by way ofCuba, infusing the territory with French language and traditions andcontributing to the rich heritage that we enjoy today.
Showcasing approximately 150 objects from institutions in Spain,France, Canada, and the United States, the exhibition, Common Routes:St. Domingue • Louisiana, traces the colonial and revolutionary eras andexplores in depth both the diversity and the commonality of the émigrésand their contributions to Louisiana through literature, music, theater,architecture, industry, law, philanthropy, and more.
Rare and intriguing items spanning centuries illustrate the fascinat-ing epic, such as the 1493 letter from Queen Isabella of Spain toChristopher Columbus requesting a map of Hayti, and the first piece ofAfrican American literature published in the United States, Les Cenelles(New Orleans, 1845)—a book of poetry written by free people of colordescended from St. Domingue émigrés.
We hope you will thoroughly enjoy the exhibition, the catalogue, thesymposium, and related events, both at The Collection and elsewhere inour community. We look forward to your enthusiastic participation!
—Priscilla Lawrence
In the spring, a group of friends of TheCollection and staff members traveled toLondon to renew the ties between GreatBritain and Louisiana. The tour—featur-ing day trips to Bath and Greenwich—focused on British art, architecture, andhistory from the years of colonial expan-sion. Highlights of the tour included visits
to the British Museum, the British Library, and Kew Gardens. Trip participants: Ann Barnes, Cheryl Betz, Bill and Mary
Lou Christovich, Florence Cordell-Reeh, Carole Daley, PhillipFuselier, Marla and Larry Garvey, Susan Hoskins, Julie and DrewJardine, Betty Lou Jeffrey, Noreen Lapeyre, Priscilla Lawrence,Alfred Lemmon, Justice Harry Lemmon and Judge Mary AnnLemmon, Joan Lennox, Roberta Maestri, Ginette Poitevent, JackPruitt, Joe and Bonnie Rault, John and Linda Sarpy, MichaelSartisky and Kathy Slimp, Fred and Pat Smith, Claire and HarryStahel, Tony Terranova, John and Martha Walker, Diane Zink andRobert Becnel.
THE COLLECTION
TRAVELS TO LONDON
Boarding the bus in Bath
FAMILY DAYBattle of New Orleans reenactors will show off
their uniforms and demonstrate their tactics.
533 Royal StreetSunday, August 21, 2005
1:00 - 4:00 p.m.
At the Dr. Samuel Johnson Home: David Mendel, Michael Sartisky,Natasha McEnroe (house curator), Robert Becnel, Ginette Poitevent,Diane Zink, Justice Harry Lemmon
T he American Civil War took a devastating domestictoll. Families were cut off from economic supportand shattered by the loss of husbands, fathers, sons,
and brothers. In New Orleans, as in other southern cities,Reconstruction promised continued hardships. Poor families,both black and white, struggled to rebuild in a changed econ-omy. Wealthier families also suffered great sorrows, but hadmore resources to help them overcome economic degradation.One prominent local family, the Avegnos, would attempt toreestablish normalcy—only to set an international scandalin motion.
Anatole Avegno, a noted local attorney, and his wifeVirginie, an heir to the immense Parlange Plantation in PointeCoupée Parish, welcomedthe arrival of two daugh-ters just prior to the out-break of war—Virginie,called Amélie, born in1859, and Valentine, bornin 1861. Anatole joinedthe Confederate forcesearly in the war, serving asa major in the ThirteenthLouisiana Regiment. Hesuffered severe injuries atthe Battle of Shiloh in1862 and died shortlythereafter from complica-tions related to a legamputation.
War’s end broughtsmall relief. Valentine diedof fever and Virginie, withher surviving daughter,fled New Orleans, leaving behind the heartbreak of war andthe bracing realities of Reconstruction. Like many French-speaking New Orleanians of means, the Avegnos relocatedto Paris.
At 19, Amélie married Pierre-Louis Gautreau, a wealthyguano importer more than twice her age. The marriage pavedAmélie’s way into Parisian society, where her distinctiveappearance made her a celebrity. Newspapers discussedAmélie’s activities and fashion choices, while artists vied for theopportunity to paint her portrait. For years she refused allproposals—but finally, in 1883, agreed to sit for Americanportraitist John Singer Sargent.
Sargent created more than 30 sketches before commenc-ing a full-length portrait. As Amélie posed, the strap of herdress fell from her shoulder. Sargent painted her as sheappeared, and both artist and model approved the final prod-uct. But when Madame Gautreau was exhibited at the Paris
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The Historic New Orleans Collection and the LouisianaHistor ica l Associat ion awarded the 2004 WilliamsPrize in Louisiana History to Dr. Peter J. Kastor for his
work The Nation’s Crucible: The Louisiana Purchase and the Creationof America, published by Yale University Press. The prize, whichincludes a cash award and a plaque, was announced at the LHA’sannual meeting in Lafayette, Louisiana, on Friday, March 18, 2005.The Williams Prize, offered annually since 1974, recognizes excel-lence in research and writing on Louisiana history.
Dr. Kastor is assistant professor of history and Americanculture studies at Washington University in St. Louis, Missouri. Inaddition to authoring The Nation’s Crucible, he has served as editorof The Louisiana Purchase: Emergence of an American Nation(Congressional Quarterly Press, 2002) and has published articles inThe Journal of the West, The William and Mary Quarterly, andReviews in American History.
In The Nation’s Crucible Dr. Kastor argues convincingly thatthe Louisiana Purchase transformed not only the geography of thecountry but the very idea of what it meant to be American.According to Dr. Kastor, the Purchase recast relationships betweenthe federal government and relatively remote western territories andchanged the ways in which citizens regarded community and gov-ernmental relations.
The Nation’s Crucible was selected from 10 entries, all publishedin 2004. A panel of three historians evaluated the entries forLouisiana content, scholarly merit, and overall historical significance.
A list of past Williams Prize recipients and application infor-mation for next year’s prize are available at www.hnoc.org. Workspublished in the 2005 calendar year exploring any aspect ofLouisiana history and culture, or placing Louisiana subjects in aregional, national, or international context, are eligible. The dead-line for all 2005 Williams Prize submissions is January 15, 2006.
The New Orleans Roots of John Singer Sargent’s
KEMPER AND LEILAWILLIAMS PRIZE AWARDED
TO PETER J. KASTOR
Amélie and Valentine Avegno, ca. 1865(2001-52-L), estate of Mettha WestfeldtEshleman
Madame X (Madame Pierre Gautreau) by John Singer Sargent, 1884, courtesy ofThe Metropolitan Museum of Art, Arthur Hoppock Hearn Fund, 1916. (16.53)Photograph © 1997 The Metropolitan Museum of Art.
Virginie Avegno, Amélie’s mother, ca. 1865 (2001-52-L),estate of Mettha Westfeldt Eshleman
Salon in 1884, the fallen strap caused the portrait to bedenounced as “vulgar” and “shameless.”
Sargent initially defended himself and his work—buteventually succumbed to public pressure, reworking theportrait with the strap over the shoulder and retitling itMadame X. While Sargent shook the taint of scandal tobecome one of the most popular painters of his time,Amélie Gautreau never truly escaped her notoriety. Shesubsequently commissioned several portraits of herself—initially hoping to erase the memory of Madame X, laterhoping to prolong her fame. As the light of her celebritydimmed, she became a recluse, rarely venturing out inpublic. She died in Paris on July 25, 1915.
In 2001 The Collection received a bequest fromMettha Westfeldt Eshleman of pre-Civil War Avegno fam-ily photographs and letters. Mrs. Eshleman’s extensiveresearch on Amélie and the saga of Madame X, alsoincluded in the bequest, was used by historian DeborahDavis for her 2004 book Strapless: John Singer Sargent andThe Fall of Madame X.
—Mark Cave
Madame X
In the spring Quarterly, exhibitioncurator John Lawrence observed that“the revolutionary outcry against a
privileged class that erupted in France in1789 was heard in St. Domingue as well.”None heard that cry more clearly, orresponded more potently, than ToussaintL’Ouverture, a former slave schooled inthe radical writings of French historianand philosopher Guillaume ThomasFrançois Raynal. L’Ouverture’s rise fromslave to freedman to revolutionary icon isthe stuff of legend. The exhibitionCommon Routes: St. Domingue • Louisianawill explore the complexities behind theman and the revolution itself.
Independence did not come easily,or quickly, to St. Domingue. FromAugust 1791, when slave revolts brokeout around the northern city of Cap-Français, until New Year’s Day 1804,when Haitian independence wasdeclared, the French colony experiencedwidespread upheaval. During the revolu-tion’s early years, chaos emanated from allpoints on the compass and the socialspectrum. Free people of color, such asVincent Ogé, petitioned the FrenchRepublic for the concession of civil rightsto free blacks and the emancipation of theenslaved; slaves revolted throughout thecountryside; and English and Spanishforces infiltrated the island under the aus-pices of white plantation owners fearfulof French revolutionary ideals. To securethe support of rebelling slaves in the fightagainst counter-revolutionary factions,the French Republic abolished slaveryon St. Domingue in 1794. This act
accomplished its tactical goal, garneringthe allegiance of the most powerful ofthe island’s rebel leaders, ToussaintL’Ouverture. After leading a successfulexpedition against the English andSpanish, L’Ouverture assumed the role oflieutenant-governor of the colony in1796—and, having further consolidatedpower, appointed himself governor-for-life in 1800.
French sympathy for the rebellionon St. Domingue, never unalloyed,cooled markedly following NapoleonBonaparte’s ascent. In 1801, alarmed byL’Ouverture’s growing power, the Frenchturned against him. Arrested in 1802and exiled to the Château de Joux prisonin the French Alps, L’Ouverture diedthere in April 1803. Although he did notlive to see Haitian independencedeclared, his name remains embedded inthe country’s history and the annals ofrevolutionary struggle.
For avid art collector and medicaldoctor Fritz Daguillard, L’Ouverture’scareer—and the myths that have grownup around it—have fueled a lifelongfascination. Dr. Daguillard’s extensivecollection related to L’Ouverture and therevolution has been the subject of severalbooks and exhibitions. Items from hisholdings will illustrate the revolutionarysection of Common Routes: St. Domingue •Louisiana. Reproduced here are threescenes from a series on L’Ouverture’s life,printed in the early 1820s by the Frenchpublisher Villain at the request of Haitianpresident Jean-Pierre Boyer.
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The Leader Long RememberedSt. Domingue’s Revolution and
Toussaint L’Ouverture
Reunion of the L’Ouverture family, 1822, cour-tesy of Dr. Fritz Daguillard. An expedition toreinstate French power in St. Domingue, led byNapoleon’s brother-in-law, General Leclerc,included L’Ouverture’s sons Isaac and Placide.Sent in hopes that they might convince theirfather to lay down arms, the young men, who hadbeen studying in France, were accompanied bytheir tutor, Abbot Coisnon. The family reunion,ineffective as a means of conciliation betweenL’Ouverture and the French, has been the subjectof several romanticized prints and staged produc-tions. The print shown here is pure fantasy—Isaac, the younger of the boys, was already 16 atthe time of the expedition.
Toussaint L’Ouverture proclaims his constitution,1822, courtesy of Dr. Fritz Daguillard. This alle-gorical print shows L’Ouverture taking the oath toa constitution that had not been approved by theFrench government—an act of independence thatmade a clash with Napoleon virtually inevitable.The grandiose ceremony, held before the colony’sreligious, civilian, and military authorities onJuly 8, 1801, took its pattern from FrenchRevolutionary pageantry.
In anticipation of the opening of Common Routes: St. Domingue • Louisiana, the Quarterly continues its series of articles
on aspects of life in the colony. The revolution on St. Domingue, onefocus of the exhibition, produced no figure more compelling than François
Dominique Toussaint, born into slavery in 1743 and self-christenedToussaint L’Ouverture (“The Opening”) some fifty years later.
Death of Toussaint L’Ouverture, 1822, courtesy of Dr. Fritz Daguillard.L’Ouverture’s final days as a prisoner at Château de Joux and the cause of hisdeath have been the subject of much speculation. As Dr. Daguillard has written,“The closing of the Chateau de Joux’s gates on Louverture meant silence. Whatwas the fate of the once-powerful governor, his [exile] procession led by silver-helmeted buglers and surrounded [by] an escort of 1,500 to 1,800 guards inuniformed splendor?... After the limelight came silence and oblivion. Toussaintwas deprived of his lackey after three weeks and ... from that point on, he wasleft in complete solitude…. On April 7, [1803,] Toussaint was found dead inhis cell, sitting [at] a table near the fireplace, his arm hanging motionless.”This print, like the others in the Villain series, plays loose with the facts; theservant seen supporting the dead prisoner had long been dismissed at the time ofL’Ouverture’s death. While theories abound as to the cause of L’Ouverture’ssudden demise, Dr. Daguillard, a physician and biologist, asserts that theimmediate cause of death was pneumonia.
Captions for the Villain prints are drawn from Dr. Fritz Daguillard's cata-logue text for the exhibition Enigmatic in His Glory (Musée du PanthéonNational Haïtien, Port-au-Prince, Haiti, 2003).
JANUARY 31-MAY 28, 2006Exhibition Curators
Dr. Alfred E. Lemmon, Director of the Williams Research CenterJohn H. Lawrence, Director of Museum Programs
Consulting CuratorDr. Guy Vadeboncoeur, Head Curator and Associate Director
The Stewart Museum at the Fort, Montreal
Adjunct CuratorsDr. Gilles-Antoine Langlois, Professor of History and Urban Studies
University of Paris XII
Dr. Javier Morales Vallejo, Assessor GeneralPatrimonio Nacional, Spain
Advisory CommitteeDr. Sadith Barahona, History Teacher
O. Perry Walker High School, New Orleans
Dr. Hortensia Calvo, Doris Stone Director and BibliographerLatin American Library, Tulane University, New Orleans
Dr. Raphael Cassimere, Seraphia D. Leyda University Teaching ProfessorHistory Department, University of New Orleans
Jean-Marc Duplantier, French Studies DepartmentLouisiana State University, Baton Rouge
Gregory Free, ArchitectHistoric Preservation Design, Austin, Texas
Dr. Yvelyne Germain-McCarthy, PresidentHaitian Association for Human Development, New Orleans
Haitian Culture Association, New OrleansSuzette Chaumette, President
Marc Jean, Vice PresidentBrandy Lloyd
Ariana Hall, DirectorCubaNola Collective, New Orleans
Lee Hampton, Executive DirectorAmistad Research Center, Tulane University, New Orleans
Jonn Hankins, New Orleans Museum of Art
Dr. Jessica Harris, Author and Culinary Historian Queens, New York
Ulrick Jean-Pierre, Haitian Historical ArtistNew Orleans
Johnny Jones, Social Studies Curriculum Coordinator, retiredOrleans Parish Public Schools
Dr. Dana Kress, Chair Ancient and Modern Language DepartmentCentenary College of Louisiana, Shreveport
Dr. John T. O’Connor, Professor EmeritusHistory Department, University of New Orleans
M A R K Y O U R C A L E N D A RELEVENTH ANNUAL
WILLIAMS RESEARCH CENTER SYMPOSIUM
Saturday, February 4, 2006Ritz-Carlton Hotel
Settled by Spain in the late 15th century, colonized by France in the17th century, and transformed into the modern state of Haiti in the19th century, St. Domingue has played a significant role in NewWorld history. During its years as a French sugar colony, St.Domingue was one of the wealthiest spots on earth; French ships andcitizens traveled regularly between the island and Louisiana. Many ofthe émigrés fleeing the revolution came to Louisiana, infusing astrong dose of French culture into an area that was rapidly becomingAmerican. The cultural influences of these émigrés, both black andwhite, greatly affected the development of New Orleans during theearly decades of the 19th century. A day-long symposium will featurescholarly presentations tracing the tumultuous history ofSt. Domingue and its ties to Louisiana.
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CCoommmmoonn RRoouu tt ee ssST. DOMINGUE • LOUISIANA
CCoommmmoonn RRoouu tt ee ssST. DOMINGUE • LOUISIANA
FOUNDER $35Full membership privileges, asoutlined
MERIEULT SOCIETY $100Full membership privileges; spe-cial gift; THNOC curator-guidedvisits at regional historical sites
MAHALIA SOCIETY $250Full membership privileges; spe-cial gift; THNOC curator-guidedvisits at regional historical sites;private, guided tours of TheCollection
JACKSON SOCIETY $500Full membership privileges; spe-cial gift; THNOC curator-guidedvisits at regional historical sites;private, guided tours of TheCollection; free admission to allevening lectures presented by TheCollection
LAUSSAT SOCIETY $1,000Full membership privileges; spe-cial gift; THNOC curator-guidedvisits at regional historical sites;private, guided tours of TheCollection; free admission to allevening lectures presented by The
Collection; special Laussat Societyreceptions and tours; annual galaevening
BIENVILLE CIRCLE $5,000Full membership privileges; spe-cial gift; THNOC curator-guidedvisits at regional historical sites;private, guided tours of TheCollection; free admission to alllectures and conferences presentedby The Collection; special mem-ber receptions and tours; annualgala evening; private luncheon inthe Executive Gallery
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Mr. and Mrs. Richard M. AdlerAlgiers Point PropertiesMr. and Mrs. Richard AutinAnn B. BaileyAnn Wood BarnesMarilyn BarnettRobert M. Becnel and Diane K. ZinkEarl E. BeelmanBellSouthJack C. BenjaminMr. and Mrs. Burton E. Benrud, Jr.Henry Bernstein and Jerry ZacharyCol. and Mrs. William J. BerridgeNell T. BoersmaMr. and Mrs. Francis Bohlen IIICurtis R. Boisfontaine, Jr., in memory of
The Honorable Henry A. Mentz, Jr.Suzanne B. Boisfontaine in memory of
The Honorable Henry A. Mentz, Jr.Bourgeois Bennett LLC in memory of
Richard Cheatham Plater, Jr.Jane Nulty BowmanBarbara V. BroadwellEric J. BrockAnn Maylie BruceMr. and Mrs. Victor BrunoMrs. Emile J. BuhlerE. John BullardHarold BurnsJudith Fos BurrusWinifred E. ByrdMrs. John W. CalhounJohn Randolph Calvert in honor of Emily
Marks CalvertCanadian Consulate GeneralBequest of Yvonne M. CarriereMark CaveMr. and Mrs. William K. ChristovichJames A. ChurchillDr. and Mrs. Hugh M. CollinsDorothy L. CounceCox Cable, Channel 8 Jefferson ParishCox Cable, Channel 10 New OrleansWilliam R. Cullison IIIMr. and Mrs. Albert DavisEileen M. DayDarryl DeanDr. Richard E. Deichmann
Roy E. de la Houssaye, Jr.Maurice DenuzièreSue DevilleJoseph M. DicharryDominican Sisters, Congregation of St. MaryRoger DrakeCarol Ann Roberts DumondMr. and Mrs. Brooke H. DuncanEd and Adelaide Benjamin FoundationScott S. EllisHarry EskewLawrence B. FabacherFarr+Huson ArchitectsFrench Antique Shop, Inc.Mrs. Gore FriedrichsFundación Casa de Alba, Madrid, SpainHarry FuselierMrs. Mims GageMr. and Mrs. Henry Galler in memory of
Richard Cheatham Plater, Jr.Jacqueline GambleKathleen Kemp GannonMr. and Mrs. Charles Fenner Gay in
memory of Richard Cheatham Plater, Jr.Joan Capdevielle Geagan in memory of
The Honorable Henry A. Mentz, Jr.Marilyn Carter GeddesJames H. GibertRobert B. GoldenMr. and Mrs. J. M. GonzalesThomas L. GrahamGrayson County Historical Society,
Leitchfield, KentuckyEstate of Angela Gregory Dr. and Mrs. Jeffrey F. GriffinHarbridge Petroleum Corp.Thomas G. HardiePatricia W. HardinCharlotte HayesMr. and Mrs. George A. Hero IIIMaclyn Le Bourgeois HickeyRobert P. HicksMr. and Mrs. Donald A. HoffmanDr. Jack HoldenKarl HolzmuellerMr. and Mrs. Harley B. Howcott, Jr.Dr. J. E. Isaacson, Jr.Mr. and Mrs. Andrew Jardine
Dr. and Mrs. Robert N. JonesWilliam Bechtel JonesMignon Jumel, M.D.Jan Hill KeelsMrs. Robert J. KilleenDr. and Mrs. Thomas A. Klaasen in
memory of Margaret GordonIrene G. KlingerCharlotte KnipmeyerK-Paul’s CateringVirginia Stafford KramerElizabeth F. LacroixNancy La Fonta de SaintegemeLake Pontchartrain Basin FoundationMark LangeGilles-Antoine LangloisMrs. W. Elliott Laudeman IIIJohn H. and Priscilla LawrenceMrs. Edward F. LeBreton, Jr., in memory of
Richard Cheatham Plater, Jr.M. Theresa LeFevrePatty Lemeé in honor of Ethan Scott Smith
and in memory of Mrs. Robley (Ruth) Duhon and Mrs. Bogdan (Kinga) Perzynski
Mr. and Mrs. Juan J. LizarragaGary LloydAmber E. LockhartLouisiana Steam Train AssociationMr. and Mrs. Stanley D. LoulaJan Frances LundyJohn T. MagillMrs. E. Dameron ManardDiane MangetHonorable and Mrs. Gary J. ManninaPhyllis J. MarquartMr. and Mrs. Charles B. Mayer in memory
of Richard Cheatham Plater, Jr.Dr. Jean McCurdy MeadeMilitary Order of Foreign Wars, Louisiana
CommanderyNadia St. Paul MöiseRose Milling MonroeDonald Peter Moriarty IIEstate of Owen F. Murphy, Sr.Dr. and Mrs. M. Bert MyersLaura Simon NelsonNew Orleans TelevisionDr. and Mrs. Tom D. Norman
Suzanne S. OliverGerald F. Patout, Jr.Dr. and Mrs. Meade H. PhelpsRussell PorterMr. and Mrs. Anthony RadostiDr. and Mrs. James L. ReynoldsMrs. Macon RiddleThe Ritz-Carlton New OrleansNoah RobertBenjamin Maurice RosenDonna Perret RosenMrs. George E. SabaFrank SaucierMarcelle D’Aquin SaussyHelen L. SchneidauSchool of DesignJudge Patrick M. SchottEthel C. SegueThe Shop at the CollectionMrs. F. M. Scheib SimonsonFred M. SmithLouis D. SmithMr. and Mrs. James B. SmoakJeannette Arbitter SolomonMr. and Mrs. David SpeightsE. Alexandra Stafford and
Raymond M. Rathlé, Jr.Mr. and Mrs. Dan E. StappArthur P. SteinmetzThe Supreme Court of LouisianaMr. and Mrs. Talton ThomasEmily ThorntonFred W. ToddUrban Dog MagazineVieux Carré Property Owners,
Residents and Associates, Inc.Calla H. WalkerJohn E. WalkerWDSU-TVMr. and Mrs. Daniel WeilbaecherAmbassador and Mrs. John G. WeinmannDr. and Mrs. C. Mark Whitehead, Jr.Mr. and Mrs. Robert J. A. WilliamsWilliams, Inc.Trudy WilliamsonWLAE-TVWWL-TVWWOZ
D O N O R S : January–March 2005
The Historic New Orleans Collection membership program is off to a wonderful start!
Membership—at all levels—carries benefits for the entire household: a single individual or a couple, along with any children under age 18. For more informa-tion, please visit our website at www.hnoc.org or call the office of development at (504) 598-7173. All inquiries are confidential and without obligation.
Membership has its benefits…In addition to preserving Louisiana’spast, your membership confers valuable benefits, including:• Subscription to The Collection’s
donor newsletter• 10% shop discount• Unlimited guided tours of the
history galleries, Williams Residence,and current exhibitions
• Members-only trips, events, andexhibition previews
• Recognition on The Collection’sdonor wall
When you become a member of The Historic New Orleans Collection, you join the company of men andwomen—from Native American settlers to soldiers on the Chalmette battlefield, from Spanish governors andFrench diplomats to Mardi Gras maskers and jazz musicians—whose spirits animate Louisiana history.
Your generous support funds research, educational outreach, award-winning publications, and interna-tionally renowned exhibitions. Reserve your place in Louisiana’s future by helping to preserve its past!
11
The opportunity to serve on theboard of directors of The HistoricNew Orleans Collection presented
itself to Drew Jardine during his tenure asmanager of private client services at BankOne—and immediately piqued his interest.The Collection’s strong educational missionappealed to Drew and his wife Julie, bothcommitted philanthropists. Drew’s term onTHNOC’s board was the start of an ongoingrelationship with the organization. Asmembers of the Laussat Society and regularparticipants in regional and internationaltrips organized by The Collection, Drewand Julie treasure their interactions withfellow art and history enthusiasts.
Both transplants to New Orleans—Drew from Douglas, Georgia, and Juliefrom Chicago—the Jardines haveadopted the city as their hometown.They are proud to report that daugh-ters Katie, 20, and Margee, 17, are life-long New Orleanians.
After graduating from MercerUniversity, Drew joined the army andserved as a platoon leader in Vietnam.Following his military service, he began acareer in the financial services industry andobtained an MBA from Georgia StateUniversity. He moved to New Orleans in1976 to work at Hibernia National Bank,where he met Julie in 1981. The couple
wed in 1983. Julie has dedicated herself toher children and to volunteer work, whileDrew’s career has diversified from privatebanking, trust, and investment manage-ment to his current position as financialadvisor with the global asset managementfirm of Legg Mason Wood Walker, Inc. Heis a Certified Financial Planner and aCertified Trust & Financial Advisor, spe-cializing in working with clients to achievetheir financial goals through a highly disci-plined process that examines the client’sgoals, risk tolerance, time horizon, andother aspects of the client’s financial life.Drew has shared his expertise with The
Historic New Orleans Collection, promot-ing the development initiative and consult-ing on the benefits of planned giving. Inhis words, “It’s important that we have pro-fessionals out telling the story of TheHistoric New Orleans Collection and theKemper and Leila Williams Foundation.We don’t want to hide our light under abushel.”
That “light” draws the Jardines backyear after year to support the institutionand its programming. Both Drew and Julieemphasize the importance of stewardship,observing, “You want to know that whenyou are involved with your time and moneythat it is in fact being used for the objectivesthat the organization has set forth. We feelcertain that our financial support of TheCollection is well managed.”
INVESTING IN THE FUTURE
Laussat Society Publication Preview Party
HAVE YOU CONSIDERED A PLANNED GIFT?
In many cases, a planned gift can help youachieve the following objectives:
• Bypass capital gains taxes• Increase current income• Reduce current income taxes• Reduce federal estate taxes• Conserve future assets for your heirs• Benefit your favorite charity
To better serve the community, The HistoricNew Orleans Collection is pleased to offerthe following materials free of charge:
• Giving Through Life Insurance• Giving Through Charitable
Remainder Trusts• Giving Through Your Will• Giving Securities • Giving Through Retirement Plans• Giving Through Gift Annuities
For more information about planned giving,please call Jack Pruitt, Jr., director of develop-ment, (504) 598-7173.
All inquiries are held in strictest confidence andare without obligation. The Historic NewOrleans Collection does not offer legal or taxadvice. We encourage you to consult your legaland financial advisors for structuring a giftplan that achieves your giving intentions andmeets your particular financial circumstances.
On Thursday, June 16, 2005, membersof the Laussat Society enjoyed a lecture byDr. William Keyse Rudolph, author ofThe Collection’s forthcoming publication,Vaudechamp in New Orleans. Picturedat the event are Jack Pruitt, ClaudiaKheel, and William Rudolph; DianePlauché, Mary Mees, and Michael Ledet;Judith Bonner and Laura Simon Nelson.
Drew and Julie Jardine
On May 9, the HistoryChannel announced 17finalists for three national
Save Our History awards. “A Dollopof History in Every Bite,” TheCollection’s culinary history projectfunded by one of the 29 inauguralSave Our History grants, not onlymade it into the finalist pool but wenton to receive the Community Award, one of thethree national prizes. Underwritten by Lowe’sCompanies, the award bestows a prize of$10,000 on an organization displaying “superiorcommitment to its project and community.”
Sue Laudeman and Priscilla Lawrence,along with two students and two teachers fromBenjamin Franklin Elementary School andO. Perry Walker High School and two represen-
tatives from the mayor’s office,traveled to Washington, D.C.,in late May to receive theaward and participate inthree days of history-themedactivities organized by theHistory Channel. At a pressconference on June 29attended by Mayor C. RayNagin, Lieutenant-GovernorMitch Landrieu, and studentsand teachers from the pro-ject’s seven participatingschools, History Channel
officials presented the $10,000 prize to TheCollection and filmed the festivities to be airedon the station.
The award funds will be used to continuethe culinary project, which has already exceededexpectations in terms of students reached andobjectives achieved. Through the dedication ofcurator of education and culinary project direc-tor Sue Laudeman, staff member Mark Cave,and a sizable volunteer coalition, 16 teachersand approximately 600 students have partici-pated in the project’s four phases: • Creole Immersion: Equipped with a six-week
timeline, a cross-curriculum workbook of lessonplans, and thirteen 20-minute videos, teachersintroduced students to Creole cooking.
• Journal Keeping: Each student kept a 7- to 10-day food journal, tracking not only what theyate, but where and with whom. The journals
provide an assessment of the prevalence ofCreole cooking in the home.
• Field Work: Using recording equipment pro-vided by the grant, students conducted oral-history interviews with family members,neighbors, celebrity chefs, and customers andvendors at the Crescent City Farmers Market.
• Commercial Creole Cooking : Field trips to localrestaurants in the French Quarter exposed stu-dents to Creole cooking as a viable business.
A long-term goal of the project is the publicationof a cookbook of recipes compiled from the stu-dents’ research. Proceeds will go to the establish-ment of a scholarship fund for New Orleans stu-dents interested in careers in the culinary arts.
“A Dollop of History in Every Bite”spawned several other initiatives at TheCollection, including a mini-exhibition at theWilliams Research Center bearing the samename; the microfilming and digitization ofCreole Cookery (1885); and a partnership withthe Hermann-Grima/Gallier Historic Houses topublish a reprint of Creole Cookery. Anexpanded exhibition celebrating Creole cookingand its history is planned for June 2006.
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The Collection SalutesMembers of the Culinary Project Volunteer Coalition
Crescent City Farmers MarketRichard McCarthy
CulinariaShannon Seyler
Louisiana VoicesEileen Engel
Newcomb College Research Centerfor WomenSusan Tucker
New Orleans Culinary Walking ToursKelly Hamilton
New Orleans Mayor’s OfficeNyree RamseyAshleigh A. Gilbert
New Orleans Public SchoolsAdministrationSandra McCollomJohn Rusina
TeachersImani Miller, Sharon Moore (Benjamin
Franklin Elementary School)Carol Wood (Robert M. Lusher
Elementary School)Trudy Robinson (Henry C.
Schaumburg School)Leonard Welch (Mary Church Terrell
Magnet School)Dr. Sadith Barahona, Joyce Carter
(O. Perry Walker High School)Frances Johnson (Fannie C. Williams
Middle School)Sedrick Muhamed, Autry Washington
(The “new” New Orleans Signature Center for Culinary Arts)
New Orleans Video Access CenterTim Ryan
Tulane University Deep SouthRegional Humanities CenterDr. Shanna Walton Cherise NelsonRestaurantsAntoine’sArnaud’sBrennan’sBroussard’sDooky Chase’sGumbo Shop
Leah Chase, celebrity chef
Dr. Jessica Harris, culinary historian
Memory Seymour, curriculum/education consultant
Poppy Tooker, chef and regional director of Slow Food New Orleans
InternsLisa James, Tulane UniversityScott Samuel, Vanderbilt University
EDUCATIONAL OUTREACH UPDATE
Culinary History Project Receives National Award
In Washington, D.C.: clockwise from left, Dr. SadithBarahona, Imani Miller, Priscilla Lawrence, Joan Odia(student, O. Perry Walker), Sue Laudeman, NyreeRamsey, Melissa Williams (student, Benjamin Franklin)
At the press conference: Priscilla Lawrence; JudithFrimer, Director of Brand Enhancement for theHistory Channel; Sue Laudeman; Mayor C. RayNagin; Lieutenant-Governor Mitch Landrieu; andBrad Grundmeyer, Cox Communications New Orleans,with students from participating schools
Sue Laudemanproudly shows off theCommunity Awardfrom the HistoryChannel.
For the first quarter of 2005 (January-March), there were 19 manuscripts acquisi-tions, totaling approximately 18 linear feet.� In honor of Emily Marks Calvert, JohnRandolph Calvert has donated a carte-de-visite album and a Civil War autograph bookfrom Fort Warren, a Union prison located onGeorge’s Island in Boston Harbor. Theitems originally belonged to Rebecca B.Butler (1842–1934) and her husbandAlexander Marks (1841–?), son of notedbusinessman Isaac Newton Marks and anative of New Orleans. Alexander Marksserved in the Confederate army, was cap-tured near Richmond in 1862, and impris-oned in New York and at Fort Warren, oneof the most infamous Union prisons. Afterthe war he studied for the Episcopal priest-hood in Charlottesville, Virginia, probablyunder the tutelage of Rebecca’s brotherWilliam C. Butler. Marks served from 1869to 1873 at Trinity Episcopal Church in NewOrleans, then became rector of TrinityEpiscopal Church in Natchez, Mississippi.
The carte-de-visite album containsimages of Rebecca, Alexander, and their fam-ily, as well as many prominent mid-19th-century figures including Pierre GustaveToutant Beauregard (autographed), JudahPhilip Benjamin, Braxton Bragg, JohnCabell Breckinridge, Jefferson Davis,
Richard Stoddert Ewell, Ambrose PowellHill, John Bell Hood, Benjamin Huger,Thomas Jonathan “Stonewall” Jackson,Joseph Eggleston Johnston, Fitzhugh Lee,Robert E. Lee (autographed), JohnBankhead Magruder, Leonidas Polk, SterlingPrice, James Ewell Brown “Jeb” Stuart, andRichard Taylor.
Alexander Marks’s autograph album,compiled during his captivity at FortWarren, contains 84 signatures ofConfederate prisoners, including GeneralsSimon Bolivar Buckner, Hiram Granberry,Hylan Lyon, and William Baldwin. The sig-natures are often accompanied by notesregarding the circumstances of the individ-ual’s capture. Beverly Kennon notes that hewas “made prisoner below New Orleans onthe Miss. river by U.S. Naval forces—April24th 1862. Was kept in close confinement,or otherwise punished until July 5th by orderof Gideon.” Henry Myers was “attached tothe CSS Sumter when kidnapped by USConsul at Tangier Morocco Feby 19 Sent toBoston in irons Committed to Fort WarrenApl 14/62.”
At the end of the autograph album is aneight-stanza poem dated August 11, 1862,dedicated “To the Exchanged Prisoners.”One stanza reads:
But if Peace may not yet wreathe yourhome with her olive,And new victims are still round the altarto bleed,God shield you amid the red bolts of thebattle!God give you stout hearts for high thought and brave deed!
—Mark Cave
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LIBRARY
For the first quarter of 2005 (January-March), there were 40 library acquisitions,totaling 70 items.� Andrew Jackson: A Portrait Study by JamesG. Barber, a joint publication of theNational Portrait Gallery and the TennesseeState Museum, was recently acquired byThe Collection. The biography is a particu-larly timely acquisition in light of the cur-rent exhibition in the Williams Gallery, TheTerrible and the Brave: The Battles for NewOrleans, 1814-1815. � Building on The Collection’s holdingsrelated to culinary history, the library hasobtained reprint editions of two Frenchcookbooks—a 2001 reprint of the 1653English edition of François Pierre LaVarenne’s The French Cook (originally pub-lished in French in 1651), and a 1978reprint of Georges Vicaire’s BibliographieGastronomique, a compilation of more than2,500 citations to food, drink, and cookingfirst published in Paris in 1890. The FrenchCook, perceived as a monumental step awayfrom peasant cooking traditions, laid thefoundations for classic French cuisine and isconsidered by many to be the first recipebook to receive international acclaim. � Life by the Board Foot, a history of theRoy O. Martin Lumber Company inAlexandria, Louisiana, has recently beenadded to The Collection’s holdings. Havingbeen in business for almost 80 years, thiscentral Louisiana lumber company ownsalmost 600,000 acres and operates fourmanufacturing plants.
—Gerald Patout
ACQUISITIONS
MANUSCRIPTS
T H E H I S T O R I C N E W
O R L E A N S C O L L E C T I O N
encourages research in theWilliams Research Center at410 Chartres Street from9:30 a.m. to 4:30 p.m. Tues-day through Saturday (exceptholidays). Cataloged materialsava i l ab l e to re s ea rche r s
include books, manuscripts, paintings, prints,drawings, maps, photographs, and artifactsabout the history and culture of New Orleans,Louisiana, and the Gulf South. Each year TheCollection adds thousands of items to its hold-ings. Though only selected gifts are mentionedhere, the importance of all gifts cannot beoverstated. Prospective donors of Louisianamaterials are invited to contact the authors ofthe acquisitions columns.
Autographed carte de visite of Pierre GustaveToutant Beauregard (2005.0140)
Autographed carte de visite of Robert E. Lee(2005.0140)
For the first quarter of 2005 (January-March), there were 25 curatorial acquisi-tions, totaling 120 items.� In 1906, Andres Molinary painted a largeportrait of local entrepreneur LawrenceFabacher, which was recently donated toThe Collection by the sitter’s great-grand-son Lawrence B. Fabacher.
Born near Crowley, Louisiana, in 1863to German immigrants from the Alsaceregion, Fabacher moved to New Orleans in1880 and opened Fabacher’s Restaurant onRoyal Street. In 1895 he became presidentof Jackson Brewery, turning the corporationinto a highly successful operation. In addi-tion to his business expertise, Fabacher wasknown for his philanthropic works in NewOrleans. Jax (as the brewery came to beknown) went on to become the largestindependent brewery in the South before itsdemise in the 1970s.
A leading figure in the lively NewOrleans art community, Andres Molinary
(active 1872–1915) received commissionsto paint portraits of many of the city’sprominent citizens. � In recent years, the Rex organization hasrevived the tradition of issuing a Mardi Grasproclamation—a poster illustrating thetheme of Rex’s annual parade. The Schoolof Design recently donated the originalartwork for the 2004 proclamation.Created by New Orleans artist TimothyTrapolin, the large watercolor features ahost of exotic birds, insects, and other flyingcreatures depicting the parade’s theme,“Winged Wonders.” � Artistic style is born of both tradition andinnovation. When artistic proclivities arepassed from one generation to the nextwithin a family, it is possible to study theconfluence of idiosyncratic and inheritedstyle. A recent gift from the estate ofAngela Gregory, featuring artworks byGregory and her mother, Selina Bres, allowsfor such study.
Selina Bres (later Gregory) studied artat Newcomb College, where she was a
member of the school’s first class in potterydecoration in 1895. She excelled in the artform, reportedly selling the first piece ofNewcomb pottery, and continued asboth a student and an art craftsman atNewcomb through 1910. A foundingmember of the Arts and Crafts Club,Bres remained active as a professionalartist for decades, producing sketch-books, drawings, pastels, and watercolorsthat reflect her classical training at oneof the South’s premier art-educationfacilities.
Angela Gregory, the daughter of SelinaBres and her husband William BenjaminGregory, also studied at Newcomb College,finding her niche in sculpture. A student ofthe French master Antoine Bourdelle,Angela Gregory received numerous publicand private commissions for sculptures overthe course of a career that spanned severaldecades. Among her public commissions inNew Orleans are relief sculptures on theOrleans Parish Criminal District Courtbuilding and a bronze monument depictingJean Baptiste Le Moyne, sieur de Bienville,the founder of modern New Orleans. Thegift includes sketches and finished drawingsfrom Angela Gregory’s studies at Newcomband in Paris.
—John H. Lawrence
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THIRD ANNUAL FRANCISCO BOULIGNY LECTURE
Revolt and Reconciliation in Early Hispañola: Enriquillo and the First Treaty in the Americas
Ida Altman
Williams Research Center, 410 Chartres Street
Thursday, October 6, 20056:30 p.m.
CURATORIAL
ON VIEW THROUGH THE FALL
Royal Street Museum Complex (533 Royal Street)Through January 8, 2006: The Terrible and the Brave: The Battles for New Orleans,1814-1815 showcases an impressive array of original documents and artworks, vintageweapons and military equipment, and dazzling Napoleonic-era uniforms, bringing bothAmerican and British perspectives to bear on this watershed event.
Williams Research Center (410 Chartres Street)Through December 3, 2005: Celebrating The Collection’s Save Our History grant from the History Channel and marking the 100th anniversary of Galatoire’s Restaurant,A Dollop of History in Every Bite! features cooking utensils and tools, culinary advertise-ments, product labels, vintage photographs, menus, and some of the oldest cookbookspublished in New Orleans.
Lawrence Fabacher by Andres Molinary, 1906(2005.0160)
IN THE COMMUNITY
Carol Bartels was elected to the 2006
nominating committee of the Society of
Southwest Archivists. Gerald Patout was
named chair of the Louisiana Library
Association’s preservation interest group
and of the museum, arts, and humanities
division of the Special Libraries
Association.
CHANGES
Daniel Hammer and Jo Bowden, recep-
tionists, Williams Research Center; Stasia
Griffin, project personnel, manuscripts.
VOLUNTEERS
Myrna Bergeron, library.
EXTENDED HOURSThe Collection now opens one-half hourearlier at 9:30 a.m.!
EditorsJessica Dorman
Lynn D. Adams, Mary C. MeesHead of PhotographyJan White Brantley
Additional photography byKeely Merritt
The Historic New Orleans Collection Quarterlyis published by The Historic New OrleansCollection, which is operated by the Kemperand Leila Williams Foundation, a Louisiananonprofit corporation. Housed in a complexof historic buildings in the French Quarter,facilities are open to the public, Tuesdaythrough Saturday, from 9:30 a.m. until4:30 p.m. Tours of the history galleries andthe Williams Residence are available for anominal fee.
Board of DirectorsMrs. William K. Christovich, Chairman
John E. Walker, PresidentCharles Snyder Fred M. Smith
John Kallenborn
Priscilla Lawrence, Executive Director
The Historic New Orleans Collection533 Royal Street
New Orleans, Louisiana 70130(504) 523-4662
[email protected] • www.hnoc.orgISSN 0886-2109
© 2005 The Historic New Orleans Collection
S TA F F
15
THE SHOPIn celebration of the release ofPrintmaking in New Orleans, theShop will be offering a selection ofprints from the book, includingthose illustrated here.
Visit or call the Shop (504-598-7147) for details of prints available. Prices range from $5 to $15.
PLEASE SENDQuantity Amount
___ Printmaking in New Orleans, $50.00 _____
Taxes as applicable
9% Orleans Parish ______
4% other La. residents ______Subtotal ______
Shipping and Handling
$6 ______
Total Amount Due ______
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Poster for French Market Coffee.Walle and Co., Ltd., lithographer;Susus Frederick Von Ehren, probabledesigner, ca. 1915.Chromolithograph (1979.378.3), gift of Sharon Dinkins
Crate label, Pelican Cracker Factory Biscuits, ca.1900-29. Walle and Co., Ltd., lithographer.Chromolithograph (1978.247.35.1)
Louis Xavier Magny, Nouvelle Cathédrale de la Nouvelle Orléans,1850. Lithograph (1940.3)
KEMPER AND LEILA WILLIAMS FOUNDATIONTHE HISTORIC NEW ORLEANS COLLECTIONMuseum • Research Center • Publisher533 Royal StreetNew Orleans, Louisiana 70130(504) 523-4662
Visit The Collection on the Internet at www.hnoc.org
ADDRESS SERVICE REQUESTED
At The Collection...EXHIBITION OPENING RECEPTIONS
In celebration of the opening of A Dollop of History in Every Bite!and the 100th anniversary of Galatoire’s Restaurant, The Collectionhosted a reception, private viewing of the exhibition, and showing of the Galatoire’s centennial documentary on May 24. Pictured atthe event are Melvin Rodrigue and Marcel Garsaud, Jr.; Jerri Klein,Margie and Raul Bencomo, and Burton Klein; Aidan Gill, Eric Julien, and Diane Plauché.
Linda and Robert Melancon, wholoaned important items from their private collection to the exhibition, chat with curator Jason Wiese.
The Terrible and the Brave: The Battles for New Orleans, 1814-1815
Private KendallLamar, 93rd Foot(SutherlandHighlanders) standsat ease as he takes a break from guard duty.
Central Connecticut State Universityprofessor Matthew Warshauer, center, is flanked by Jessica Dormanand John H. Lawrence after his lecture on Andrew Jackson.
Private Daren Nunez visits with guest curatorTimothy Pickles.Private Daren Nunez, 93rd
Foot (Sutherland Highlanders),shows a couple of “well set up”recruits (Evan Wall andWilliam Sweet) the intricaciesof musket loading at the recep-tion on May 17.
A Dollop of History in Every Bite!
