PRINTMAKING In New Orleans - The Historic New Orleans ... ? related media associated with New Orleans and Louisiana. The books fourteen essayseach originally presented at a session of the ... Printmaking in New Orleans

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Volume XXIII, Number 3 Summer 2005PRINTMAKING InNew OrleansP rintmaking in New Orleans, a jointpublication of The Historic NewOrleans Collection and theUniversity Press of Mississippi, is the firstbook to survey the history of prints andrelated media associated with New Orleansand Louisiana.The books fourteen essayseachoriginally 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 Museumaddress different aspects of the art and craftof 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 lifedocuments 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 Prangimages 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 buildingswhether large chromolithographs orsmall-scale illustrations on letterheads andinvoice formspresent 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. Mah II (19481991), 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 Poeschsintroduction to the book2A Season for ArtPrintmaking in New Orleans Scheduled for Fall DeliveryREFLECTING NEW ORLEANSS 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 Picayunes 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.3TRANSFORMING PRODUCT LABELS INTO WORKS OF ARTIntroduction: Printmaking in New OrleansJessie J. PoeschPublicizing a Vast New Land: VisualPropaganda for Attracting Coloniststo Eighteenth-Century LouisianaGay M. GomezWalking the Streets of New Orleans:Printed Maps and Street ScenesJohn A. Mah IIThe Art Preservative of All Arts: Early Printing in New OrleansFlorence M. JumonvilleA Pelicans-Eye View: The UrbanGrowth of New Orleans Through Birds-Eye ViewsJohn MagillA New Plane: Pre-Civil WarLithography in New OrleansPriscilla LawrencePlaying New Orleans: The Citys Neighborhoods and Sheet MusicAlfred E. LemmonA Louisiana Architects Prints andDrawings: The Works of Marie AdrienPersac, 1832-1873Barbara SoRelle BacotJules Lion, F.M.C.: LithographerExtraordinairePatricia BradyLocal Color: Chromolithography in New OrleansKellye M. RosenheimIllustrated Periodicals in Post-Civil War New OrleansJudith H. BonnerMorris Henry Hobbs: In Old New OrleansClaudia KheelPurist Aesthetic and Tradition inClarence John LaughlinsPhotographs: Solid Foundations forthe Third World of PhotographyJohn H. LawrenceTwentieth-CenturyArtists/Printmakers in New OrleansEarl RetifCaroline Durieux: Louisianas MasterPrintmaker for the Twentieth CenturyH. Parrott BacotT H E C H A P T E R SView of Jackson Square, NewOrleans, Louisiana by Pessou andSimon, 1855. Color lithograph(1948.3). Priscilla Lawrences chapter on pre-Civil War lithographytraces the careers of many of NewOrleanss earliest lithographers, suchas Louis Lucien Pessou and BenedictSimon, P. Langlum, J. B. Pointel duPortail, Jules Manouvrier, PaulCavailler, and Louis Xavier Magny. SHOWCASING THE TALENTS OF NOTED LOUISIANA ARTISTSILLUMINATING THE HISTORY OF THE REGIONCan label for Womans 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 printmakingand 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 Lawrences chapter on the photographic work ofClarence John Laughlin explores the purist aspects ofLaughlins photographs rather than the manipulated workfor which he is better known, arguing that Laughlinsability 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 acrossthe 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 areas land-marks are Brunings, 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 artistsdaughter, 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. Theartists sensitivity to change is evident inher paintings of lakefront landmarks:Brunings, Fitzgeralds, Swansons, andMaggie and Smittys restaurants; the GapBridge, Breakwater Drive, and Shell Road;the 17th Street and New Basin Canals; theSouthern Yacht Club, the fountain at WestEnd, and Shultzs Fresh Hardware. In 1966,Woests 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, Porters, Sears,Barnetts, 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. Herdaughters gift to The Collection helpsensure that memories of Bucktown andother New Orleans neighborhoods willnot fade. Judith H. Bonner4West 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 Woest5FROM THE DIRECTORAny 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 accomplishmentmonths 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 Louisianaa 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 31May 28, 2006) with an accom-panying catalogue, the years 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 Hispaola afterColumbuss discovery. In time, Hispaola was colonized by both theSpanish and the French under the name Santo Domingo/St. Domingue.With the successful revolution on the island (17911804), 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 migrs 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 migrsand 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 migrs. 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 LawrenceIn the spring, a group of friends of TheCollection and staff members traveled toLondon to renew the ties between GreatBritain and Louisiana. The tourfeatur-ing day trips to Bath and Greenwichfocused on British art, architecture, andhistory from the years of colonial expan-sion. Highlights of the tour included visitsto the British Museum, the British Library, and Kew Gardens. Trip participants: Ann Barnes, Cheryl Betz, Bill and MaryLou 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 COLLECTIONTRAVELS TO LONDONBoarding the bus in BathFAMILY DAYBattle of New Orleans reenactors will show off their uniforms and demonstrate their tactics.533 Royal StreetSunday, August 21, 20051:00 - 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 LemmonT 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 normalcyonly to set an international scandalin motion.Anatole Avegno, a noted local attorney, and his wifeVirginie, an heir to the immense Parlange Plantation in PointeCoupe Parish, welcomedthe arrival of two daugh-ters just prior to the out-break of warVirginie,called Amlie, 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.Wars 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, Amlie married Pierre-Louis Gautreau, a wealthyguano importer more than twice her age. The marriage pavedAmlies way into Parisian society, where her distinctiveappearance made her a celebrity. Newspapers discussedAmlies activities and fashion choices, while artists vied for theopportunity to paint her portrait. For years she refused allproposalsbut 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 Amlie 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 Paris6 7The Historic New Orleans Collection and the LouisianaHistor ica l Associat ion awarded the 2004 WilliamsPrize in Louisiana History to Dr. Peter J. Kastor for hiswork The Nations 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 LHAsannual 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 Nations 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 Nations 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 Nations 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 years 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 Sargents KEMPER AND LEILAWILLIAMS PRIZE AWARDEDTO PETER J. KASTORAmlie and Valentine Avegno, ca. 1865(2001-52-L), estate of Mettha WestfeldtEshlemanMadame 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, Amlies mother, ca. 1865 (2001-52-L),estate of Mettha Westfeldt EshlemanSalon in 1884, the fallen strap caused the portrait to bedenounced as vulgar and shameless.Sargent initially defended himself and his workbuteventually 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,Amlie Gautreau never truly escaped her notoriety. Shesubsequently commissioned several portraits of herselfinitially 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. Eshlemans extensiveresearch on Amlie 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 CaveMadame XIn the spring Quarterly, exhibitioncurator John Lawrence observed thatthe revolutionary outcry against aprivileged class that erupted in France in1789 was heard in St. Domingue as well.None heard that cry more clearly, orresponded more potently, than ToussaintLOuverture, a former slave schooled inthe radical writings of French historianand philosopher Guillaume ThomasFranois Raynal. LOuvertures 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-Franais, until New Years Day 1804,when Haitian independence wasdeclared, the French colony experiencedwidespread upheaval. During the revolu-tions early years, chaos emanated from allpoints on the compass and the socialspectrum. Free people of color, such asVincent Og, 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 actaccomplished its tactical goal, garneringthe allegiance of the most powerful ofthe islands rebel leaders, ToussaintLOuverture. After leading a successfulexpedition against the English andSpanish, LOuverture assumed the role oflieutenant-governor of the colony in1796and, having further consolidatedpower, appointed himself governor-for-life in 1800.French sympathy for the rebellionon St. Domingue, never unalloyed,cooled markedly following NapoleonBonapartes ascent. In 1801, alarmed byLOuvertures growing power, the Frenchturned against him. Arrested in 1802and exiled to the Chteau de Joux prisonin the French Alps, LOuverture diedthere in April 1803. Although he did notlive to see Haitian independencedeclared, his name remains embedded inthe countrys history and the annals ofrevolutionary struggle.For avid art collector and medicaldoctor Fritz Daguillard, LOuverturescareerand the myths that have grownup around ithave fueled a lifelongfascination. Dr. Daguillards extensivecollection related to LOuverture 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 LOuvertures life,printed in the early 1820s by the Frenchpublisher Villain at the request of Haitianpresident Jean-Pierre Boyer.8The Leader Long RememberedSt. Domingues Revolution andToussaint LOuvertureReunion of the LOuverture family, 1822, cour-tesy of Dr. Fritz Daguillard. An expedition toreinstate French power in St. Domingue, led byNapoleons brother-in-law, General Leclerc,included LOuvertures 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 betweenLOuverture and the French, has been the subjectof several romanticized prints and staged produc-tions. The print shown here is pure fantasyIsaac, the younger of the boys, was already 16 atthe time of the expedition.Toussaint LOuverture proclaims his constitution,1822, courtesy of Dr. Fritz Daguillard. This alle-gorical print shows LOuverture taking the oath toa constitution that had not been approved by theFrench governmentan act of independence thatmade a clash with Napoleon virtually inevitable.The grandiose ceremony, held before the colonysreligious, 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 articleson aspects of life in the colony. The revolution on St. Domingue, onefocus of the exhibition, produced no figure more compelling than FranoisDominique Toussaint, born into slavery in 1743 and self-christenedToussaint LOuverture (The Opening) some fifty years later.Death of Toussaint LOuverture, 1822, courtesy of Dr. Fritz Daguillard.LOuvertures final days as a prisoner at Chteau 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 Jouxs 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 ofLOuvertures death. While theories abound as to the cause of LOuverturessudden 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 (Muse du PanthonNational Hatien, Port-au-Prince, Haiti, 2003). JANUARY 31-MAY 28, 2006Exhibition CuratorsDr. Alfred E. Lemmon, Director of the Williams Research CenterJohn H. Lawrence, Director of Museum ProgramsConsulting CuratorDr. Guy Vadeboncoeur, Head Curator and Associate DirectorThe Stewart Museum at the Fort, MontrealAdjunct CuratorsDr. Gilles-Antoine Langlois, Professor of History and Urban StudiesUniversity of Paris XIIDr. Javier Morales Vallejo, Assessor GeneralPatrimonio Nacional, SpainAdvisory CommitteeDr. Sadith Barahona, History TeacherO. Perry Walker High School, New OrleansDr. Hortensia Calvo, Doris Stone Director and BibliographerLatin American Library, Tulane University, New OrleansDr. Raphael Cassimere, Seraphia D. Leyda University Teaching ProfessorHistory Department, University of New OrleansJean-Marc Duplantier, French Studies DepartmentLouisiana State University, Baton RougeGregory Free, ArchitectHistoric Preservation Design, Austin, TexasDr. Yvelyne Germain-McCarthy, PresidentHaitian Association for Human Development, New OrleansHaitian Culture Association, New OrleansSuzette Chaumette, PresidentMarc Jean, Vice PresidentBrandy LloydAriana Hall, DirectorCubaNola Collective, New OrleansLee Hampton, Executive DirectorAmistad Research Center, Tulane University, New OrleansJonn Hankins, New Orleans Museum of ArtDr. Jessica Harris, Author and Culinary Historian Queens, New York Ulrick Jean-Pierre, Haitian Historical ArtistNew OrleansJohnny Jones, Social Studies Curriculum Coordinator, retiredOrleans Parish Public SchoolsDr. Dana Kress, Chair Ancient and Modern Language DepartmentCentenary College of Louisiana, ShreveportDr. John T. OConnor, Professor EmeritusHistory Department, University of New OrleansM A R K Y O U R C A L E N D A RELEVENTH ANNUALWILLIAMS RESEARCH CENTER SYMPOSIUMSaturday, February 4, 2006Ritz-Carlton HotelSettled 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 migrs fleeing the revolution came to Louisiana, infusing astrong dose of French culture into an area that was rapidly becomingAmerican. The cultural influences of these migrs, 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.9CCoommmmoonn RRoouu tt ee ssST. DOMINGUE LOUISIANACCoommmmoonn RRoouu tt ee ssST. DOMINGUE LOUISIANAFOUNDER $35Full membership privileges, asoutlinedMERIEULT SOCIETY $100Full membership privileges; spe-cial gift; THNOC curator-guidedvisits at regional historical sitesMAHALIA 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 TheCollectionLAUSSAT 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 TheCollection; special Laussat Societyreceptions and tours; annual galaeveningBIENVILLE 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 Gallery10Mr. 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. DeichmannRoy E. de la Houssaye, Jr.Maurice DenuzireSue 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 FriedrichsFundacin 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 JardineDr. 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-Pauls 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 Leme in honor of Ethan Scott Smith and in memory of Mrs. Robley (Ruth) Duhon and Mrs. Bogdan (Kinga) PerzynskiMr. 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 MiseRose Milling MonroeDonald Peter Moriarty IIEstate of Owen F. Murphy, Sr.Dr. and Mrs. M. Bert MyersLaura Simon NelsonNew Orleans TelevisionDr. and Mrs. Tom D. NormanSuzanne 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 DAquin 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. Rathl, Jr.Mr. and Mrs. Dan E. StappArthur P. SteinmetzThe Supreme Court of LouisianaMr. and Mrs. Talton ThomasEmily ThorntonFred W. ToddUrban Dog MagazineVieux Carr 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-TVWWOZD O N O R S : JanuaryMarch 2005The Historic New Orleans Collection membership program is off to a wonderful start!Membershipat all levelscarries 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 benefitsIn addition to preserving Louisianaspast, your membership confers valuable benefits, including: Subscription to The Collectionsdonor 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 Collectionsdonor wallWhen you become a member of The Historic New Orleans Collection, you join the company of men andwomenfrom Native American settlers to soldiers on the Chalmette battlefield, from Spanish governors andFrench diplomats to Mardi Gras maskers and jazz musicianswhose spirits animate Louisiana history.Your generous support funds research, educational outreach, award-winning publications, and interna-tionally renowned exhibitions. Reserve your place in Louisianas future by helping to preserve its past!11The opportunity to serve on theboard of directors of The HistoricNew Orleans Collection presenteditself to Drew Jardine during his tenure asmanager of private client services at BankOneand immediately piqued his interest.The Collections strong educational missionappealed to Drew and his wife Julie, bothcommitted philanthropists. Drews term onTHNOCs 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 OrleansDrew from Douglas, Georgia, and Juliefrom Chicagothe 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 couplewed in 1983. Julie has dedicated herself toher children and to volunteer work, whileDrews 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 clientsgoals, risk tolerance, time horizon, andother aspects of the clients financial life.Drew has shared his expertise with TheHistoric New Orleans Collection, promot-ing the development initiative and consult-ing on the benefits of planned giving. Inhis words, Its important that we have pro-fessionals out telling the story of TheHistoric New Orleans Collection and theKemper and Leila Williams Foundation.We dont 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 FUTURELaussat Society Publication Preview PartyHAVE 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 charityTo better serve the community, The HistoricNew Orleans Collection is pleased to offerthe following materials free of charge: Giving Through Life Insurance Giving Through CharitableRemainder Trusts Giving Through Your Will Giving Securities Giving Through Retirement Plans Giving Through Gift AnnuitiesFor 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 Collections forthcoming publication,Vaudechamp in New Orleans. Picturedat the event are Jack Pruitt, ClaudiaKheel, and William Rudolph; DianePlauch, Mary Mees, and Michael Ledet;Judith Bonner and Laura Simon Nelson.Drew and Julie JardineOn May 9, the HistoryChannel announced 17finalists for three nationalSave Our History awards. A Dollopof History in Every Bite, TheCollections 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 LowesCompanies, 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 mayors 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-jects seven participatingschools, History Channelofficials 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 projects four phases: Creole Immersion: Equipped with a six-weektimeline, 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 journalsprovide 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 Bitespawned 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 2006.12The Collection SalutesMembers of the Culinary Project Volunteer CoalitionCrescent City Farmers MarketRichard McCarthyCulinariaShannon SeylerLouisiana VoicesEileen EngelNewcomb College Research Centerfor WomenSusan TuckerNew Orleans Culinary Walking ToursKelly HamiltonNew Orleans Mayors OfficeNyree RamseyAshleigh A. GilbertNew Orleans Public SchoolsAdministrationSandra McCollomJohn RusinaTeachersImani 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 RyanTulane University Deep SouthRegional Humanities CenterDr. Shanna Walton Cherise NelsonRestaurantsAntoinesArnaudsBrennansBroussardsDooky ChasesGumbo ShopLeah Chase, celebrity chefDr. Jessica Harris, culinary historianMemory Seymour, curriculum/education consultantPoppy Tooker, chef and regional director of Slow Food New OrleansInternsLisa James, Tulane UniversityScott Samuel, Vanderbilt UniversityEDUCATIONAL OUTREACH UPDATECulinary History Project Receives National AwardIn 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 onGeorges Island in Boston Harbor. Theitems originally belonged to Rebecca B.Butler (18421934) 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 Rebeccas 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 Markss 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-uals capture. Beverly Kennon notes that hewas made prisoner below New Orleans onthe Miss. river by U.S. Naval forcesApril24th 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 Cave13LIBRARYFor 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 Collections holdingsrelated to culinary history, the library hasobtained reprint editions of two Frenchcookbooksa 2001 reprint of the 1653English edition of Franois Pierre LaVarennes The French Cook (originally pub-lished in French in 1651), and a 1978reprint of Georges Vicaires 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 Collections holdings. Havingbeen in business for almost 80 years, thiscentral Louisiana lumber company ownsalmost 600,000 acres and operates fourmanufacturing plants. Gerald PatoutACQUISITIONSMANUSCRIPTST H E H I S T O R I C N E WO R L E A N S C O L L E C T I O Nencourages 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 sinclude 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 sitters 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 Fabachers 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 18721915) received commissionsto paint portraits of many of the citysprominent citizens. In recent years, the Rex organization hasrevived the tradition of issuing a Mardi Grasproclamationa poster illustrating thetheme of Rexs 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 parades 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 amember of the schools 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 Souths 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 Gregorys studies at Newcomband in Paris.John H. Lawrence14THIRD ANNUAL FRANCISCO BOULIGNY LECTURERevolt and Reconciliation in Early Hispaola: Enriquillo and the First Treaty in the AmericasIda AltmanWilliams Research Center, 410 Chartres Street Thursday, October 6, 20056:30 p.m.CURATORIALON VIEW THROUGH THE FALLRoyal 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 Collections Save Our History grant from the History Channel and marking the 100th anniversary of Galatoires 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 COMMUNITYCarol Bartels was elected to the 2006nominating committee of the Society ofSouthwest Archivists. Gerald Patout wasnamed chair of the Louisiana LibraryAssociations preservation interest groupand of the museum, arts, and humanitiesdivision of the Special LibrariesAssociation.CHANGESDaniel Hammer and Jo Bowden, recep-tionists, Williams Research Center; StasiaGriffin, project personnel, manuscripts.VOLUNTEERSMyrna Bergeron, library.EXTENDED HOURSThe Collection now opens one-half hourearlier at 9:30 a.m.!EditorsJessica DormanLynn D. Adams, Mary C. MeesHead of PhotographyJan White BrantleyAdditional photography byKeely MerrittThe 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, ChairmanJohn E. Walker, PresidentCharles Snyder Fred M. SmithJohn KallenbornPriscilla Lawrence, Executive DirectorThe Historic New Orleans Collection533 Royal StreetNew Orleans, Louisiana 70130(504) 523-4662hnocinfo@hnoc.org www.hnoc.orgISSN 0886-2109 2005 The Historic New Orleans CollectionS TA F F15THE 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 applicable9% Orleans Parish ______4% other La. residents ______Subtotal ______Shipping and Handling $6 ______Total Amount Due ______Name______________________________________Address_____________________________________City, State, Zip_______________________________Telephone___________________________________Visa MasterCard Amex Discover Check or money order Account Number______________________________Exp. Date____________________________________Signature ____________________________________Poster for French Market Coffee.Walle and Co., Ltd., lithographer;Susus Frederick Von Ehren, probabledesigner, ca. 1915.Chromolithograph (1979.378.3), gift of Sharon DinkinsCrate label, Pelican Cracker Factory Biscuits, ca.1900-29. Walle and Co., Ltd., lithographer.Chromolithograph (1978.247.35.1)Louis Xavier Magny, Nouvelle Cathdrale de la Nouvelle Orlans,1850. Lithograph (1940.3)KEMPER AND LEILA WILLIAMS FOUNDATIONTHE HISTORIC NEW ORLEANS COLLECTIONMuseum Research Center Publisher533 Royal StreetNew Orleans, Louisiana 70130(504) 523-4662Visit The Collection on the Internet at www.hnoc.orgADDRESS SERVICE REQUESTEDAt The Collection...EXHIBITION OPENING RECEPTIONSIn celebration of the opening of A Dollop of History in Every Bite!and the 100th anniversary of Galatoires Restaurant, The Collectionhosted a reception, private viewing of the exhibition, and showing of the Galatoires 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 Plauch.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, 1814-1815Private 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, 93rdFoot (Sutherland Highlanders),shows a couple of well set uprecruits (Evan Wall andWilliam Sweet) the intricaciesof musket loading at the recep-tion on May 17.A Dollop of History in Every Bite!

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