Volume XXIII, Number 1 Winter 2005

Once upon a time, back in the dayswhen computer terminals glowed green,

The Historic New Orleans Collection was ahotbed of cutting-edge technology—andpractitioners of the newly minted profes-sion of museum information managementwere beating a path to the doors of 533Royal Street to get a firsthand look at oneof the most sophisticated collections-management systems in the country. Auto-mated collections management representedthe advent of computing technology intothe core museum processes. The Collec-tion, which went hi-tech in 1985, was oneof the first history museums in the countryto install an automated system—a particu-larly striking accomplishment, given thatmany larger institutions lagged behind.The Historic New Orleans CollectionNewsletter (an earlier incarnation of theQuarterly) featured the installation of thenew system on its front cover, completewith pictures of beaming staff membershunched over box-like terminals.

Years passed and THNOC refined,upgraded, and expanded its computingfacilities. In 1994, in preparation for theopening of the Williams Research Center,The Collection installed a local area net-work, moved to the Microsoft Windowsoperating system, connected to the Inter-net, created its first website, and strungmore than a mile of network cabling in theWRC. From 1987 to 1996, THNOCwent from having two personal computers

in the Royal Street complex to having morethan 60 networked machines distributedacross three separate sites. The SystemsDepartment initiated a wide variety of soft-ware development projects, including a vastexpansion of The Collection’s mailing-listprogram; databases for archival collections;and membership in OCLC, the nationallibrary network most libraries use to catalogtheir books and periodicals.

Yet despite the many infrastructurechanges and special projects, the heart andsoul of The Collection’s information systemremained virtually unchanged. By the mid-1990s it had become apparent that the sys-tem needed upgrading. But the same fac-tors that drove The Collection to seek anew system complicated its efforts to find asuitable one. Put simply, THNOC had tofind a way to serve, and integrate, its dis-parate internal bases.

Part of The Collection’s powerfulappeal as a historical research institution isits melding of museum, l ibrary, andarchival functions. While other institutionswith similar components exist, noneentwine these three functions as closely asTHNOC. A strategic decision made in thelate 1980s dictated that every item acquiredby the institution be registered in a singlecomputerized tracking system. This strat-egy gave The Collection tremendous con-trol over its holdings and afforded staffmembers the ability to search all threerepositories at one time. The opening of

the Williams Research Center strengthenedthis unified approach to information access.Previously, each of THNOC’s collectingdivisions—curatorial, library, and manu-scripts—had its own reading room. Now, asingle reading room on the second floor ofthe WRC, where all collections can beaccessed, provides visitors with a moreeffective research experience.

Collections management was nowstreamlined at front and back ends—mate-rials entered The Collection through a sin-gle door and were made available to thepublic in one room. But in between, mate-rials took a circuitous route through sepa-rate cataloging and curatorial processes,resulting in descriptive records of unequalformats:• Curatorial records were accessible via

the THNOC system;• OCLC provided full library records,

but only the abbreviated registrationrecords were available locally;

• And, in long-standing archival tradi-tion, manuscripts finding aids existedonly on paper.

Ideally, when patrons asked research ques-tions, WRC staff would be able to consult asingle source. But that goal remained elusive.

As the Systems Department searchedfor software to merge the collection infor-mation, it became clear that no extantautomation system had the ability to han-dle the combined needs of THNOC’s threeresearch departments. Systems personnel

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faced a stark choice: either purchase (andmaintain) three separate informationsystems, or develop something completelynew. The latter option prevailed.

Throughout 1999 the Systems Depart-ment met with individual staff members toanalyze the flow of collection informationthrough THNOC. After distributing a177-page survey to a dozen library andmuseum-systems vendors, departmentmembers scheduled presentation sessionswith four vendors. In essence, Systems waslooking for a company to go out on alimb—to create a product that nobody elsehad, but everybody (in time) would want.The vendor needed strong developmentskills; solid experience in curatorial, library,and archival applications; and, perhapsmost important, a compelling vision for thefuture. In the end, THNOC chose MinisisInc., a Canadian firm with a 30-year his-tory in libraries and archives.

Selecting a vendor was merely the firststep in a long and arduous implementationprocess. No computer system, no matterhow technologically advanced, is independ-ently capable of solving an organization’sproblems. Successful computer systemsmust be tailor-made to resemble a virtualbody cast of an organization’s structure andwork habits. No two systems are alike—just as no two organizations are alike. Bystudying how “off-the-shelf ” systems mightbe adapted to serve organizational needs,the Systems Department had gained insightinto how The Collection functioned andhow it fell short of its goals. But even witha vendor selected and the redesign processcommenced, challenges remained.

Fortunately, THNOC’s staff had beenthinking ahead. The library catalogers hadbeen creating records in the standardMARC (Machine-Readable Cataloging)format for years. Likewise, manuscriptscatalogers had been creating finding aids

using the new Encoded Archival Descrip-tion standard format almost from themoment it became available, and curatorialstaff adopted AAT (Art and ArchitectureThesaurus) standards for nomenclature.When The Collection at last had a systemto accommodate this data, it was ready tobe imported.

Over the course of four years andcountless meetings, tests, classes, consulta-tions, and the occasional trip to Ottawaand Vancouver, the Mint (“Minisis Inte-grated”) system came into being. A new,streamlined registration module went liveon January 2, 2003. Once new objectscleared the registration process, registrarscould automatically create new records indedicated curatorial, library, and manu-scripts cataloging systems. The curatorialportion of this set of applications, whichalso handles basic collections-managementinformation for all divisions, went live inearly 2004. In November of that year, theMinisis staff and the Systems Departmentfinalized the new library system. Themanuscripts system will follow in 2005.

Each system includes extensive helpscreens and controlled vocabularies devel-oped in-house by Carol Bartels, The Col-lection’s documentation coordinator, work-ing in conjunction with registrars, curators,catalogers, and reference staff. A new webinterface, making all of The Collection’srecords available on the Internet from a sin-gle query screen, will eventually be releasedas well. Mint has already generated inter-national “buzz” and is now being installedat the Archives of Ontario in Canada andthe Netherlands Architecture Institute inRotterdam. Just as it did in the floppy-diskera, The Historic New Orleans Collectionis once again setting the standard forcutting-edge museum technology.

A flood of related activity at The Col-lection has surrounded the installation of

Mint. In November The Collection—toge the r w i th the St a t e L ib r a r y o fLouisiana, the Louisiana State Museum,and the Louis Digital Library—became arecipient of an Institute of Museum andLibrary Services (IMLS) National Leader-ship Grant, one of only 44 awarded nation-wide. Helping to fund the digitization ofup to 13,000 photographs, paintings, anddrawings over the next two years, the grantprovides for a significant addition to TheCollection’s digital image collection in bothnumber and scope and will help form thebasis for a digital, non-chemical basedphoto-duplication process. Linda Epstein,project personnel, has completed half of theproject funded by the Diboll Foundation toconvert the Vieux Carré Survey into anelectronic resource, available online andsearchable through a mapped interface. InDecember 2004, The Collection installedits first membership system, replacing itsantiquated mailing list with sophisticatedand powerful new software (see pages 4-5for an announcement of the new member-ship program). And the computing infra-structure is constantly being maintainedand upgraded by network manager JoséZorrilla—new servers power the new soft-ware, and in August, a point-to-point lasersystem joined the Royal Street and ChartresStreet locations into a single, seamless net-work to make way for an expected increasein traffic as large image files becomeincreasingly common. While significantamounts of work remain, the public willbegin to see the first of these efforts reachfruition by the late summer of 2005.

—Chuck Patch

Opposite page: Systems staff —Chuck Patch,

Carol Bartels, and José Zorrilla.

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Keely Merritt, photography assistant, scans imagesfor the IMLS-funded digitization project.

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Over the next year curatorswill travel to France andSpain, registrars will pre-

pare loan agreements and organizethe shipment of items, and prepara-tors will build frames and cases—allin preparation for the January 2006opening of Colonial St. Domingue. Acomprehensive look at the history ofSt. Domingue and the impact of itsrevolution on Louisiana, Colonial St.Domingue will bring together itemsfrom the Archivo General de Indiasin Sevi l l e , Centre des archivesd’outre-mer in Aix-en-Provence,Bibliothèque nationale de France in Paris, Ministère des affairesÉtrangères in Paris, Centre des Archives Diplomatiques in Nantes,and private collections in Europe and Louisiana.

Beginning with an examination of the island’s original coloniza-tion by the Spanish (1492-1697) and its prosperous years as a Frenchsugar colony (1697-1789), the exhibition will address such topics asthe effects of colonization on the native population, the introductionof the slave trade, the technology and economic impact of the sugarindustry, urban development as a reflection of the Enlightenment,and social life on the island during the boom era. Progressing tocoverage of the revolution and its aftermath (1790-1810), ColonialSt. Domingue will examine the social stratification of St. Domingue

PREPARATIONS BEGIN FOR AColonial St. Domingue: A Louisiana Heritage Story

The Historic New Orleans Collection is proud toannounce a new fellowship to support scholarly researchand promote the history and culture of Louisiana and the

Gulf South. The inaugural Dianne Woest Fellowship in the Artsand Humanities will be awarded in 2006.

Woest fellows will be based at the Williams Research Cen-ter, home to some 35,000 library items, more than two milesof documents and manuscripts, and approximately 350,000photographs, prints, drawings, paintings, and other artifacts.

Our collections illuminate the history and culture of theGulf South, Louisiana, and New Orleans—with a particularfocus on colonial Louisiana, the Louisiana Purchase, the Battle ofNew Orleans, the Civil War, Mississippi River life, cartography,transportation, plantations, urban development, Louisiana artistsand writers, historic preservation, architecture, early NewOrleans jazz, and Mardi Gras. While THNOC resources shouldplay a central role in the proposed research agenda, fellows willalso be encouraged to explore other research facilities in theGreater New Orleans area.

The Woest Fellowship is open to doctoral candidates, aca-demic and museum professionals, and independent scholars.U.S. citizenship is not required, but applicants should be fluentin the English language. Fellows will be expected to:

• present a public lecture during their term of residence• acknowledge The Collection in any published work

drawing on research completed under the aegis ofthe fellowship

Stipend: The fellowship carries a stipend of $4,000/month, to bedisbursed on a monthly basis for a minimum of one and a maxi-mum of three months. Fellows may select their period(s) of resi-dence, but all research must commence and conclude during thespecified calendar year.

Deadline: Applications for the 2006 Woest Fellowship are dueAugust 1, 2005. Awards will be announced September 15, 2005,with research to begin on or after January 1, 2006.

To Apply: Applicants are encouraged to familiarize them-selves with The Collection’s resources by visiting www.hnoc.org.Fellowship applications may be downloaded from the website’s“research” link. For more information, call Dr. Alfred Lemmon,Director of the Williams Research Center, at 504-598-7124, orDr. Jessica Dorman, Director of Publications, at 504-598-7174.

The Historic New Orleans Collection gratefully acknowledges thegenerosity of Dianne Audrey Woest (1935-2003), a graduate ofSoutheastern Louisiana University, former president of the NewOrleans Council for International Visitors, and true friend of thearts. Through a planned giving arrangement, Woest designatedThe Collection as a beneficiary of her estate.

By becoming a member of The Historic New OrleansCollection, you are helping to meet the ever-increasing educa-tional needs of the region. Your generosity supports interna-

tionally renowned exhibitions, popular publications, and educationaloutreach programs. In addition to receiving The Historic New OrleansCollection Quarterly, members will enjoy the following annual benefits:• Subscription to The Collection’s donor newsletter• Membership card• 10% shop discount• Unlimited guided tours of the history galleries, Williams

Residence, and current exhibitions (during regular business hours)• Members-only trips, events, and exhibition previews• Recognition on The Collection’s donor wall

The Dianne Woest Fellowship inthe Arts and Humanities

Toussaint L’Ouverture, courtesy ofFritz Daguillard

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(white planters, petit blancs, free people of color,and slaves); the role of key revolutionaries( Toussaint L’Ouverture and Jean-JacquesDessalines); the contributions of the French,British, and Spanish; and the links between therevolt and the Louisiana Purchase.

Finally, the exhibition will look at theplight of the French refugee in the UnitedStates, especially in New Orleans. This finalsegment, the heart of the exhibition, will track aplethora of cultural influences through the activ-ities of notable refugees such asLouis Duclot, Louis Moreau-Lislet, James Pitot, and DenisPrieur. From architecture to food-ways to furniture design, local cul-ture continues to meld lower Mis-sissippi Valley and West Indianelements.

A variety of programming—the annual Williams ResearchCenter Symposium, guest lec-tures, a reception, and educationalactivities—will accompany therun of Colonial St. Domingue(January 13-June 2, 2006). Markyour calendar now!

Founder $35Full membership privileges, as outlined

Merieult Society $100Full membership privileges

Special giftTHNOC curator-guided visits at regional historical sites

Mahalia Society $250Full membership privileges

Special giftTHNOC curator-guided visits at regional historical sites

Private guided tours of The Collection

Jackson Society $500Full membership privileges

Special giftTHNOC curator-guided visits at regional historical sites

Private guided tours of The CollectionFree admission to all evening lectures presented by The Collection

Laussat Society $1,000Full membership privileges

Special giftTHNOC curator-guided visits at regional historical sites

Private guided tours of The CollectionFree admission to all lectures hosted by The CollectionSpecial Laussat Society member receptions and tours

Annual gala evening

Bienville Circle $5,000Full membership privileges

Special giftTHNOC curator-guided visits at regional historical sites

Private guided tours of The CollectionFree admission to all lectures and conferences

Special member receptions and toursAnnual gala evening

Private luncheon in the Executive Gallery

Illustration of sugar cane plantfrom F. R. de Tussac, Flore desAntilles (Paris, 1808), courtesy of Centre des archives d’outre-mer, SOM F98/2. Sugar produc-tion was the major industry onthe island in the 18th century.

Frontispiece, “Costier de Saint-Domingue,” courtesy of Centre des archivesd’outre-mer, F3 291. The image, dating between 1783 and 1794, is a fantasycomposed of several sketches of St. Domingue.

GROUNDBREAKING EXHIBITION

Route pour le voyage de la Louisiane from Antoine Laval,Voyage de la Louisiane (Paris, 1728) (72-50-L)

Membership—at all levels—carries benefits for the entire household: asingle individual or a couple, along with any children under age 18. For more information, 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.

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2005 HonoraryMembership Chairmen

For the second year in a row, JudeSolomon, associate curator at The His-toric New Orleans Collection, has

applied for and received a grant from theNational Film Preservation Foundation topreserve film from the Jules Cahn Collection.Established by the U.S. Congress in 1997,the NFPF supports the preservation of Amer-ican films through a variety of grant pro-grams in an effort to increase the accessibilityof films for study, education, and exhibition.

In 2003, The Collection received a

partnership grant to preserve two films shotby Jules Cahn—footage of a jazz funeral in1963 and documentation of the first MardiGras Indian “Super Sunday” (the meetingof the Uptown and Downtown Mardi GrasIndians) in 1970. Partnership grants pro-vide for preservation work at laboratoriesand post-production houses donating serv-ices to the NFPF.

The 2004 award, a federal preservationgrant, covers up to $5,000 worth of profes-sional laboratory services to duplicate and

reformat films documenting activities ofthe Zulu Social Aid and Pleasure Club.The films, taken by Cahn in the 1960s, fea-ture coverage of the Zulus parading onMardi Gras day (before they moved to thetraditional Uptown route) and participat-ing in second-line parades and coverage ofthe club’s jazz funerals.

The films covered by the 2003 grantare now available on VHS tapes for viewingin the Williams Research Center and havebeen digitally mastered for future use.

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Jules Cahn Collection Receives National Film Preservation Foundation Grants

A YEAR OF AWARDS FOR

CHARTING LOUISIANA

FIVE HUNDRED YEARS OF MAPS

Since its September 2003 release,Charting Louisiana has garnered muchattention, receiving three awards in2004. In addition to the honorsannounced in the spring 2004Quarterly—the Humanities Book ofthe Year Award from the LouisianaEndowment for the Humanities andthe Louisiana Literary Award from theLouisiana Library Association—theatlas recently received the Best Book onthe Gulf South Award from the GulfSouth Historical Association. Seepage 15 to order a copy of ChartingLouisiana: Five Hundred Years of Maps.

ON VIEW THROUGH MAY 7Royal Street Museum Complex (533 Royal Street)A Heritage of Faith: Christ Church Cathedral and Episcopal Louisiana, 1805-2005, anexhibition mounted in celebration of the liturgical bicentennial of the Episcopal Churchin Louisiana, features documents, pictorial materials, and artifacts from Christ ChurchCathedral and other sources.

Williams Research Center (410 Chartres Street)Tarnished Laurels: The British at the Battle of New Orleans tells the story of the 1814-15campaign from the British perspective. Highlights of the exhibition include manuscriptmaps and accounts of the battle by British officers; a collection of historical printsdramatizing the death of Major General Sir Edward Pakenham; and a diverse selection of let-ters, original artworks, and both manuscript and published memoirs.

An expanded show highlighting both the American and British perspectives and featuringadditional memorabilia, including vintage weapons and uniforms, will open at the RoyalStreet museum complex on May 17, 2005.

Zulu Social Aid and Pleasure Club funeralby Jules Cahn, 1977 (2000.78.8.20), JulesCahn Collection

Big Chief Theodore Emile “Bo” Dollis of the Wild Magnolias Mardi Gras Indian tribe by JulesCahn, 1974 (2000.78.8.33), Jules Cahn Collection

Dr. Helen CliffordDr. Clifford is affiliated with the Victoria and Albert Museum

and is an independent scholar involved in the planning ofupcoming exhibitions at Somerset House,London, and the Ashmolean Museum, Oxford.In October 2004, her book Silver in London: The

Parker and Wakelin Partnership, 1760-1776 wasreleased by Yale University Press. Dr. Clifford alsoco-authored two previous publications—Consumers

and Luxury: Consumer Culture in Europe, 1650-1850and Contemporary Silver: Commissioning, Designing,

Collecting. In addition to being an honorary fellow of thedepartment of history at the University of Warwick, Dr.

Clifford is a member of the Association of British Designer-Silversmiths and a fellow of the Society of Antiquaries of

London.

SATURDAY, MARCH 5, 2005WILLIAMS RESEARCH CENTER

410 CHARTRES STREET

9:30-11:30 a.m.

Admission fee: $20Please call (504) 598-7171 for reservations. Seating is limited.The research center will open for patrons at 1:00 p.m.

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S E C O N D A N N U A L

DECORATIVE ARTS LECTUREENGLISH SILVER OF THE

GEORGIAN PERIOD

Strengthening Louisiana’s Cultural Economy

More than 1,100 members of Louisiana’s “creative class” gathered in theErnest N. Morial Convention Center on December 9-10 for the state’sfirst annual Cultural Economy Initiative Conference. Executive direc-

tor Priscilla Lawrence and publications director Jessica Dorman, representing TheCollection, participated in workshop sessions to define and promote Louisiana’sdistinctive cultural heritage.

The conference, jointly sponsored by the office of Lieutenant GovernorMitchell J. Landrieu and the Department of Culture, Recreation and Tourism,underscored the extent of statewide governmental and business support for thearts—and encouraged collaborative efforts within and among Louisiana’s museum,film, music, publishing, culinary, theater, dance, and design sectors. Landrieupledged to “use an innovative and entrepreneurial approach to transform arts andculture into a viable sector of Louisiana’s economy.” Keynote speaker CharlesLandry, a leading voice in European cultural planning, urged conference partici-pants to take creative approaches to partnership building. Defining “creativity”as “thinking at the edge of your competence,” Landry emphasized the importanceof risk taking in arts production and promotion, as did such other distinguishedspeakers as jazz legend Allen Toussaint; American Roots radio host Nick Spitzer;Jonathan Katz, CEO of the National Assembly of State Arts Agencies; and pro-ducers and cast from the movie Ray.

Through the years The HistoricNew Orleans Collection hasgrown by leaps and bounds—not only by adding to the collections and augment-ing the physical structures that house them, butalso by increasing educational services. We havealways been dedicated to education by making ourholdings of primary source materials easily availableto the public for consultation, research, and publi-cation. As you know from the cover story, creatingdata systems for collection accessibility is an ongoingprocess, and as the past 20-plus years have shown,we are dedicated to the use of innovative technology.

In the last two years, our publishing hasincreased markedly, led by the award-winningCharting Louisiana, and followed by a biography ofthe artist George Louis Viavant; a multifaceted lookat our holdings, From Louis XIV to LouisArmstrong; and the memoir of Royal Navy admiralRobert Aitchison, who served at the Battle of NewOrleans and whose original journal is a centerpieceof our collection. Other major books, including theprintmaking volume announced in this issue of theQuarterly, are in preparation.

For several years, we have increased our out-reach to students by bringing history programs tothe classrooms of public and private schools inOrleans and surrounding parishes. In addition, theeducation department’s training workshops havehelped to orient more than 350 teachers to thebenefits of exposing students to primary sourcematerials—the ultimate reality show!

Building on the success of the LouisianaPurchase Bicentennial year, more and more areamuseums and other nonprofit entities are collabo-rating on programming. Louisiana’s leaders forgeahead with the knowledge that reveling in andstudying our history and cultural heritage is eco-nomically and educationally beneficial to all.

When we have reached out to you, our patronsand donors, you have been most generous withyour support. Your widespread interest leads us toproudly announce our first ever comprehensivemembership program. We invite and encourageyou to join at whatever level you find appropriate,and we welcome you as our partners on the journeyonward and upward.

—Priscilla Lawrence

Sterling silver two-handledcup by Thomas Whiphamand Charles Wright,London, 1763(72.645a,bWR)

A New Era at The Collection

FROM THE DIRECTOR

Lithography, a planographic printingprocess invented in Bavaria in thelate 18th century and patented in

the United Kingdom in 1800, reached theUnited States by 1819. In time, color litho-graphs—or chromolithographs—supplantedblack-and-white lithographs in both popu-larity and commercial exposure. Amongthe largest local consumers of chromolitho-graphs were the Mardi Gras organizations,or krewes, who requisitioned colored invi-tations and dance cards for their annualcarnival balls and festivities.

�What is a chromolithograph? The defini-tion, according to scholar Peter C. Marzio,“is muddy.” In addition to single-color andhand-colored lithographs, both printedfrom one lithographic stone, the categorycan also include tinted lithographs, printedfrom one stone but using additional stonesto flood the picture surface with tint foratmospheric effect. Printed color litho-graphs, meanwhile, are composed of at leastthree colors, each applied from a separatestone; the resulting picture is defined by thecolors of the chromo. The differencesamong these products are not always clearto the eye—and, up until the early 1860s,any lithograph printed in color in Americawas simply called a chromolithograph.

As early as 1867, the invitation to theComus ball was chromolithographed. Thelithographer/printer, Captain John E.Boehler, was a native of Germany who hadbegun working in New Orleans in 1840.After serving in the Civil War, Boehlerreturned to New Orleans, where he workeduntil his death in 1875. Another native ofGermany, Hermann Wehrmann—whoarrived in New Orleans soon after thewar—produced a color invitation for the1874 Comus ball.

Chromolithography thrived in the1880s. An 1882 invitation to the ball ofthe Rex organization perfectly captures theMardi Gras spirit of whimsy and fantasy.This delightful invitation, produced byCharles Briton, came in a cone-shapedenvelope that, when opened, revealed twolittle slippered feet at the slit. The invita-tion features a merry Old King Cole-likedie-cut figure in a deep purple cloak linedwith brilliant feathers. Briton, an impor-tant carnival artist in New Orleans, Cincin-nati, and Baltimore, designed the locallyfamous 1873 Comus pageant Origin ofSpecies. He died at his work table in 1884.The invitation by George Kerth to the 1882ball given by the Independent Order of theMoon (no longer in existence) pictures a col-

orful scene of Hogarthian revelry takingplace under a full moon and proclaims thekrewe’s motto, “A LIVE GOOSE IS BET-TER THAN A DEAD LION.”

The biggest producer of chromolitho-graphs in New Orleans during this timewas undoubtedly the firm of T. Fitzwilliamand Co. Thomas Fitzwilliam, a native ofIreland, was an entrepreneur and a found-ing member of the Hibernia Bank. Heworked in New Orleans from 1853 untilhis death in 1917. An 1884 advertisementfor Fitzwilliam’s steam press lithographybusiness promotes a variety of services, with“Fine Color Work” prominently featured.Fitzwilliam’s firm produced the 1883 invi-tation to the Phunny Phorty PhellowsMardi Gras ball. The flat card with fourflaps and applied decoration of lace andsatin (printed with various scenes) wasprobably designed by Daniel Buechner, thefirm’s top artist, known for his carnivaldesigns.

As “phun” as they were, locally pro-duced invitations were a rarity. The greatmajority of chromolithographed invitationswere produced in France, with a fewprinted in Baltimore or New York. NewOrleans lithographers undoubtedly tried toimitate the French style preferred bykrewes.

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CHROMOLITHOGRAPHY&MARDI GRAS

Excerpts from the forthcoming publicationP N OThe graphic arts in New Orleans—from engravings, lithographs, and photographs to maps, commercial illustrations, and sheet music—arethe focus of The Collection’s forthcoming publication, to be produced in cooperation with the University Press of Mississippi. A visually stun-ning book, spanning cultural strata from highbrow to pop, Printmaking in New Orleans offers the first in-depth examination of the print-maker’s art in Louisiana. Edited with an introduction by Jessie J. Poesch, professor emerita of art history at Newcomb College of TulaneUniversity, Printmaking in New Orleans will take its place among the definitive works of southern art history.

The book’s 14 chapters build on research presented in a symposium organized by the North American Print Conference. The originalsymposium—cosponsored by The Historic New Orleans Collection, the New Orleans Museum of Art, and the Louisiana State Museum—assembled an impressive group of experts familiar with the graphic arts of New Orleans. The publication of this volume will further the mis-sion of the NAPC—to stimulate scholarship on, and discussion of, the contributions of printmaking to artistic, social, and cultural history.

Leading up to the book’s fall 2005 release, the Quarterly will feature excerpts from Printmaking in New Orleans. The passages below,drawn from Jessie Poesch’s introduction and Kellye Rosenheim’s essay on chromolithography, address Mardi Gras imagery.

Detail, Carnival bulletin for Comusby Walle and Co., Ltd., 1905(1980.192.17)

�

Invitations by Paris lithographersSicard and F. Appel embody the Frenchideal. Unlike the invitations produced inNew Orleans, which typically picturedmore generalized Mardi Gras scenes, theParisian prints portrayed the krewes’ spe-cific themes. Often classical in nature, car-nival themes tapped Greek and Romanmythology, exotic cultures, “Treasures ofthe Earth,” “Human Passions and Charac-ters,” and King Arthur’s court.

French invitations were considerablymore elaborate and delicate than those pro-duced in America. Unfolding to revealMoorish palaces, ladies’ fans, and otherelaborate creations, they almost always fea-tured complex die-cut edges, finely printedimages, and multiple flaps and tabs.Expensive French invitations, used as earlyas 1879 by the Rex organization, were sooncopied by other krewes. This style wasespecially suited to the taste of mem-bers of the Rex, Comus, and Proteuskrewes.

No New Orleans lithographercould produce anything quite tothis French standard, and cer-tainly not for the price.E u r o p e a n l a b o r w a scheaper than American,and the raw materials forlithography had to beimported from Europe.In other American cities,lithographers formed lob-bying groups to protest foreign competition, but not in New Orleans.

By the 1890s there were almost nolocally made chromolithographed MardiGras invitations. An exception is an 1896invitation to the Phunny Phorty Phellowsball by the firm of Koeckert and Walle fea-turing a die-cut owl whose wings open toreveal a strange, enthroned character. Onthe inside of the wings are scenes of fash-ionable people watched over by owls andwinged cherubs. Extra wings serve as theadmit cards and announce the place andtime of the ball. Although charming andevocative of the holiday spirit, the invitationrepresented a late example of lithography.With the coming of photomechanicalreproduction in the 1890s and early 1900s,the use of chromolithography on invita-tions began to decrease.

The most splendid chro-molithography in the cityappeared on carnival bul-l e t in s . The s e l a r g eMa rd i Gr a s p a r a d echarts illustrated thef l o a t s i n u p c o m i n gparades and were sold asextra edit ions of NewOrleans newspapers. Theyfirst appeared in 1878 as one-color wood engravings; in 1884the first full-color carnival bulletinwas produced by the Southern Litho-graphic Co. The Fitzwilliam firm producedits first carnival bulletin for Proteus in 1886and through the 1890s held a virtualmonopoly on these bulletins. In 1902,Walle and Co. produced its first carnivalbulletin. Except for T. Fitzwilliam and Co.,

which continued to represent Pro-teus until 1911, Walle and Co.made all carnival bulletins until

World War I. Walle and Co.’sbulletins were not published

by the newspapers, butby the company itself.

A comparisonof the production ofcarnival bulletinsand inv i t a t ionssuggests interesting

social distinctions. By the turn of the cen-tury, the chromolithographic process wasused for carnival bulletins but not for invi-tations. But when chromolithography wasused for invitations, the prized announce-ments of private balls—sent to krewe mem-bers and guests—were almost always madein France. The large carnival bulletins,announcing parades to the general public,were entrusted to local printers. The extentto which social cachet, as opposed to logis-tical concerns, determined printing assign-ments may finally be determined onlythrough close examination of krewerecords. It may well be that large-scale jobsrequired chromolithography. It may also bethat the theme of any year’s celebration was

decided well in advance of Mardi Gras,providing ample time to order invitationsfrom France. Because the designs of indi-vidual floats were completed closer to theparade time and were much more specific,there was not enough time to have bulletinsproduced in France.

In the end, taste and logistics probablyboth played a role in printing decisions. Itseems likely that krewe members, who paidfor the invitations and sent them to theirguests, simply wanted French invitations.The newspapers and printing companieswho produced the bulletins probably did soin conjunction with the krewes and thefloat designers. The challenge of findingsomeone to print the bulletins—and possi-bly incur financial risk—naturally led tothe choice of a local printer.

In 1905 Walle and Co. created one ofmany fine carnival bulletins for Comus.Produced at a time when the process waslanguishing in other parts of the country,this carnival bulletin is one of the bestexamples of chromolithography in NewOrleans. By 1912, Walle and Co.’s bul-letins became somewhat stiffer in design.After World War I, bulletins, mainlyproduced by Searcy and Pfaff, becamecartoonish and perfunctory.

�In an age before color photography,chromos gave us some of the most spectacularartifacts of our material culture.—Jessie Poesch and Kellye M. Rosenheim

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Invitation to Phunny Phorty Phellows

ball by Koeckert and Walle, 1896

(1984.30.4), gift of Gertrude Seaton Foley

Invitation to Rex ball byCharles Briton, 1882(1960.14.74)

Approximately 15 years ago, Jimand Liz Reynolds visited TheHistoric New Orleans Collection

to research Jim’s mother’s family, the Seilers.An afternoon spent sifting through cardfi les (before the reading rooms wereequipped with computers) turned up aplethora of information on family membersand the business they operated on CanalStreet. Jim was thrilled: “I learned the his-tory of the business and found out its exactaddress [in the 900 block of Canal Street].I was amazed by the amount of informationI discovered.” On that day, the Reynoldses“fell in love” with The Collection and therichness of its repository. Enamored withthe institution’s research component, thecouple has chosen to support The Collec-tion financially to help ensure the contin-ued expansion of the holdings and theiraccessibility. They’ve also been actively

involved in The Collection’s many programsand find the broad range of topics coveredmost impressive.

For the Reynoldses, New Orleans is,and always has been, home. When asked,“Where are you from?” Liz Reynoldsquickly responds, “New Orleans, ofcourse.” As natives, Liz and Jim under-stand and cherish the city’s distinctive his-tory and culture. Indeed, the story of theircourtship is a real New Orleans tale. Jimand Liz met in grammar school; on their“first dates,” the Reynoldses attended class-mates’ birthday parties and spent after-noons together while their mothers played

bridge. Liz muses, “When your mothersare along, I suppose it can’t be considered afirst date.” In high school Jim and Liz wentto the Loew’s State, the Saenger, or theOrpheum to see movies. College outingsbrought the couple to the French Quarterwhere they enjoyed the music of PapaCelestine, Al Hirt, and Pete Fountain,among others. From dating to marriageand raising four children, from attendingcollege at Tulane University and NewcombCollege to the establishment of Jim’s pedi-atric cardiology practice, the Reynoldseshave been rooted in New Orleans. But theybelieve that “so many people who movehere feel that they can’t get a concept of NewOrleans, that they are not a part of the city.”According to the Reynoldses, “The Collec-tion welcomes those not native to the areaand gives them a feel for what locals loveabout the city.” Indeed, through their sup-port of The Historic New Orleans Collec-tion, the Reynoldses assist the institution infulfilling its mission to “tell the stories of ourregion to New Orleanians…and the world.”

10

Supporting The Collection’s Vast Resources

HAVE YOU CONSIDERED A PLANNED GIFT?In many cases, a planned gift can helpyou achieve 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, TheHistoric New Orleans Collection ispleased to offer the following materialsfree 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 plannedgiving, please call Jack Pruitt, Jr., directorof development, (504) 598-7173.

All inquiries are held in strictest confidenceand are without obligation. The HistoricNew Orleans Collection does not offerlegal or tax advice. We encourage you toconsult your legal and financial advisorsfor structuring a gift plan that achievesyour giving intentions and meets your par-ticular financial circumstances.

Jim and Liz Reynolds

S E C O N D A N N U A L

Laussat SocietyGala

Fiona AbramsAssociated Office SystemsThe Azby FundBarataria-Terrebonne National Estuary

ProgramAnn Wood BarnesMr. and Mrs. J. W. BeanSteve BellasMs. C. G. BennittBienville House HotelDr. and Mrs. Thomas Bonner, Jr.Mr. and Mrs. Robert S. BrantleyBroadmoor United Methodist ChurchBruce BrownMr. and Mrs. James L. CahnCalumet PhotographicCane River National Heritage Area

CommissionMr. and Mrs. William K. Christovich

for the bookplate program in memoryof Mr. and Mrs. Alvin Richard Christovich, Sr., Elyria Kearney Christovich, Isabel Tonry Christovich, Lester E. Kabacoff, Marie Stadler Keenan, Emerite Gahn Lemmon, Louise Casterade Mossy, Ann Ogletree Mossy, Jane Potts Mossy, Margaret Keenan Mossy, and Mr. and Mrs. Wiley Lyons Mossy, Sr.

Citigroup Asset ManagementConfederate Memorial Hall MuseumGeorge T. Conwell

Cox Communications—Channel 8, Jefferson Parish; Channel 10, New Orleans

John J. Cummings IIIDr. Randolph DelehantyDepartment of the Army, New Orleans

District, Corps of EngineersBlaine DerbignyDorian M. Bennett, Inc.William Lake DouglasWilson G. DupreyEntergy Charitable FoundationLea FilsonCatherine A. FlahertyPatrick FloryBen FontanellePhyllis FullertonHenry GautreauxTerry GerstnerRenée GlindmeyerMr. and Mrs. Harold GormanJohn H. HernandezHollinger CorporationThe Huntington Library, Art

Collections, and Botanical GardensHuntington Museum of ArtSusan Pankey IvesRichard JacksonMr. and Mrs. Drew JardineThe Kenneth W. Rendell Gallery, Inc.Robert J. KilleenDon Kirkland

The Mr. & Mrs. L. Garvey Fund of TheGreater New Orleans Foundation

Nancy La Fonta de SaintegemeLaPorte, Sehrt, Romig & HandJanet LarsonMr. and Mrs. John H. LawrenceDr. Alfred E. LemmonEdward J. LennoxDr. Ernest A. LinerDr. George LyonsRalph MadisonMilling Benson Woodward L.L.P.Mississippi River Parkway

CommissionNew Orleans TelevisionThe Ogden Museum of Southern Art,

Inc.Orange County Regional History

Center, Orlando FloridaAmy OuchleyPatio PlantersLouis PeneguyG. David Perrin, Jr.Euphemie T. PhelpsMrs. Robert S. PostleMrs. Ewell PottsAlexandra Stafford and Raymond RathléScott M. RatterreeRault Resources GroupBettie G. RedlerRestore or Retreat, Inc.Running Press Book PublishersSt. Denis J. Villere & Company

Nadia St. Paul MöiseFrances SalvaggioCourtney-Anne SarpyMark SchleifsteinHelen L. SchneidauSchool of DesignJoy SeguraDavid ShawShields, Mott, Lund L.L.P.Dorothy B. SkauEdgar Lee SmithPatty Lemée Smith in honor of Emily

Catherine SmithEstate of Milton SolowitzDr. and Mrs. Wayne StromeyerTennessee Williams/New Orleans

Literary FestivalRoulhac B. ToledanoMr. and Mrs. John E. Walker for the

bookplate program in memory of Oliver J. Counce

Lenore D. Wands in memory of CarolKammer Fromherz

WDSU-TVLawrence M. WeberJay WeigelJohn F. WettermarkWilliam L. Clements LibraryBetty WilliamsWLAE-TVWWL-TV

11

D O N O R S : July-September 2004

On Thursday, November 4, 2004, members of the Laussat Society gathered at the home of Trip andLisa Ludwig for a gala evening. Dinner, compliments of Chef Chuck Subra of La Côte Brasserie andChef René Bajeux of René Bistrot, was followed by a performance by the Michael White Quartet.Pictured are, opposite page, counterclockwise, Chef René Bajeux and Chef Chuck Subra; Charles andSherry Snyder; Judge Mary Ann Lemmon and Justice Harry Lemmon; the Michael White Quartet;above, first row, Marla and Larry Garvey; Cheryl and Catherine Betz; Alexandra Stafford andRaymond Rathlé; Julie and Drew Jardine; second row, Todd and Laura Simon Nelson and Lisa andTrip Ludwig; John and Linda Sarpy and Jack Pruitt; Jerry Zachary and Henry Bernstein.

For the third quarter of 2004 ( July-September), there were 34 library acquisi-tions, totaling 192 items.

Dorothy Skau has donated three charm-ing children’s pamphlets published by localcoffee companies at the turn of the 20thcentury. The titles document a novel mar-keting strategy of the time period. FairyTales, published by the New Orleans CoffeeCompany, and Little Red Riding Hood, pub-lished by Merchants Coffee Company, offerexquisite color lithographs. The third pam-phlet, which lacks its cover, is an alphabetbook with illustrations for young learners.The donation is a valuable resource forresearchers interested in both the local cof-fee business and advertising practices.

Report of the Commissioner of Patents forthe Year 1849, a recent gift from Lake Dou-glas, includes an essay on grasses for theSouth written by noted horticulturistThomas Affleck. Affleck operated severalplantations and established one of the earli-est nurseries in the South. He is especiallynoted for his Cotton Plantation Record andAccount Book which became a model formanaging operations for planters. Several

of Affleck’s valuable published almanacs arein the library’s holdings.

In addition to Affleck’s treatise ongrasses, Report of the Commissioner ofPatents for the Year 1849 includes a reporton the degeneration of sugarcane inIberville Parish, Louisiana. The author, J.Pritchard, asks readers to suggest solutionsto the problem.

Recognizing the importance of journalsand magazines as research tools, the libraryis committed to acquiring single issues ofjournals containing articles of local interestand to adding new subscriptions to periodi-cals currently published in New Orleans.Louis Peneguy of Atlanta has donated theOctober 7, 1955, issue of The Second Line,a publication of the New Orleans JazzClub. This particular issue, the organiza-tion’s 1955 jazz-festival souvenir program,contains an article on the history of theNew Orleans Jazz Club.

The January 1887 issue of Harper’sNew Monthly Magazine , donated byLawrence Weber of Ohio, supplements TheCollection’s holdings of the journal. Theissue contains an article on New Orleanswritten and illustrated by CharlesDudley Warner.

To add to The Collection’sholdings of contemporary periodi-cals, the institution has subscribedto three recent additions to the mar-ketplace—Southern Woman, ScatMagazine, and Gallery Insider.

—Gerald Patout

For the third quarter of 2004 (July-September), there were 16 manu-scripts donations, totaling approxi-mately 184 linear feet.

Janet Larson of Sea Girt, NewJersey, has donated a vast collectionof jazz records, memorabilia, andresearch materials assembled overthe course of 50 years by her latehusband, Paul Larson. Born in1931, Mr. Larson began collectingjazz records at about the age of 10and continued his interest in jazzthroughout his adult life. In addi-tion to owning and operating anautomobile dealership, Mr. Larson

hosted a jazz music radio program forWJLK in Asbury Park.

As early as 1949-50 Paul Larson begancollecting material on New Orleans trum-peter Bunk Johnson. A member of the leg-endary Eagle Band from ca. 1910 to 1914,Bunk reputedly had a strong influence onLouis Armstrong and a number of othermusicians before drifting into obscurity inthe 1930s. By 1934, forced into retirementas a practicing musician by dental prob-lems, Bunk had settled in New Iberia wherehe taught music and did odd jobs for a liv-ing. While researching a chapter on LouisArmstrong for the 1939 book Jazzmen, his-torian and collector William Russellbecame acquainted with Bunk’s work;shortly thereafter Russell and Johnsonbegan a lifelong correspondence and friend-ship. Believing Bunk’s music to be some ofthe most authentic early jazz worthy of pre-serving, Russell created his own AmericanMusic label in an attempt to market Bunk’swork and revive his career as a musician.Bunk Johnson’s brief comeback in the1940s initiated great interest in exploringthe murky history of early jazz.

12

ACQUISITIONS

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 from10:00 a.m. to 4:30 p.m.Tuesday through Saturday(except holidays). Catalogedm a t e r i a l s a v a i l a b l e t o

researchers include books, manuscripts, paint-ings, prints, drawings, maps, photographs, andartifacts about the history and culture of NewOrleans, Louisiana, and the Gulf South. Eachyear The Collection adds thousands of items toits holdings. Though only selected gifts arementioned here, the importance of all giftscannot be overstated. Prospective donors ofLouisiana materials are invited to contact theauthors of the acquisitions columns.

LIBRARY

MANUSCRIPTS

Fairy Tales published by the New Orleans Coffee Company(2004.0173.2)

Seeing Bunk as a link to the origins ofthe music that he so loved, Paul Larson set outto document every aspect of the trumpeter’slife. Mr. Larson’s meticulously compiledscrapbooks include photographs, newspaperclippings, and other memorabilia relatingto Bunk’s comeback and the revival of NewOrleans-style jazz. Among the extensivesubject files in the collection is one entitled“New Iberia” which contains correspon-dence from Larson to the mayor’s officeasking that photographs be taken of Bunk’svarious residences in the area and that hisformer music students be located. Audiotapes of Bunk’s performances, a broadassemblage of records, a substantial libraryof biographies and discographies, andobscure jazz periodicals enhance Mr. Larson’sdonation.

—Mark Cave

For the third quarter of 2004 ( July-September), there were 23 curatorial dona-tions, totaling 200 items.

The campeachy or butaca chair, a formlong associated with Louisiana’s colonialpast, was introduced to the region duringthe period of Spain’s administration of thecolony (1762-1800). Usually consisting ofa wooden frame supporting a low-slungleather seat and back, the form remainspopular today. The Collection has acquired

a mid-20th century example by WilliamSpratling, a member of the faculty of theTulane School of Architecture and an inte-gral part of the New Orleans art commu-nity in the 1920s. Spratling left NewOrleans in 1929 to settle permanently inTaxco, Mexico, where he is largely creditedwith reviving that area’s tradition of crafts,especially silversmithing. Dating between1936 and 1940, Spratling’s simple design ofwood and lightly pebbled leather is deco-rated by a cutout of a leaping fish in thecrest rail.

Items related to Carnival in NewOrleans donated this quarter includeposters and float designs for theRex organization, a gift of theSchool of Design, and three ballinvitations from Nadia St. PaulMöise.

A group of souvenir dolls datingfrom the 1930s, a gift of Mrs. EwellPotts, includes figures of Jean Laffite,Evangeline, a “casket” girl, andMarie Laveau. Nancy La Fonta deSaintegeme has also donated agroup of dolls representing histori-cal figures, including Laffite andAndrew Jackson.

David Nixon, a multi-talentedartist and musician, spent much

time in New Orleans during the middledecades of the 20th century. His whimsicalpaintings and drawings often focus on thehuman figure. Many New Orleaniansrecall the professional puppet theater Nixonoperated from his Madison Street resi-dence, using puppets of his own creation.In keeping with a focus on collecting por-traits and self-portraits of artists workingin Louisiana, The Collection has acquired apapier-mâché self-portrait head of DavidNixon, along with documentary materialdescribing his career in New Orleansand abroad.

—John H. Lawrence

13

CURATORIAL

Bunk Johnson, with Jim Robinson on trombone,at the Academy of Music, December 2, 1945(2004.0151)

SIXTH ANNUAL

BILL RUSSELL LECTURE

CELEBRATING A JAZZ

MASTER’S CENTENNIAL

FRIDAY, APRIL 8, 2005

The Collection’s sixth annual BillRussell lecture will commemorate theavid jazz collector and historian’s100th birthday with a panel discus-sion, moderated by Dr. Bruce BoydRaeburn, director of Tulane Univer-sity’s Hogan Jazz Archive. Panelistsinclude Russell’s brother, WilliamWagner; pianist Tom McDermott;bandleader Barry Martyn; music pub-lisher Don Gillespie; and BenjaminJaffe, manager of Preservation Hall.

Bill Russell at the entrance to Preservation Hall,April 1978 (92-48-L, MSS 520, f. 2248), William Russell Jazz Collection, Clarisse Claiborne Grima Fund purchase

Float design for the 1998 Rex parade by Manuel Ponce,Blaine Kern Artists (2004.0201.9)

THNOC provides internship opportunities for students in appropriate academic fields. Please address allinquiries to: Internship Opportunities, The Historic New Orleans Collection, 533 Royal Street, NewOrleans, LA 70130.

The Historic New Orleans Collection thanks the interns from the past year—Lisa Williams(Louisiana State University), Donna Price (Southern University), Lenora Costa (University ofDelaware), Andrea Faber (Southeastern Louisiana University), and Hilary Hartje (Loyola UniversityNew Orleans).

Since the early 1980s, TheHistoric New Orleans Col-lection has hosted interns

from a variety of institutions,both local and out of state. Dur-ing 2004, interns came fromLouisiana State University, Loy-ola University New Orleans,Southeastern Louisiana University, SouthernUniversity, and the University of Delaware.The interns, who serve without pay, receivea thorough introduction to a museum/research facility. In addition, they areassigned projects that match their skills andinterests with the needs of The Collection.

In the spring and summer of 1997,Rachel Lyons, an intern from the LoyolaUniversity history department, rehousedphotographs in the William Russell JazzCollection and assisted the preparators inexhibition design and condition reporting.Rachel took the skills learned at THNOCto her position as folk-art interpreter at the

International House of BluesFoundation, where she initiatedand executed condition reportsfor the over 400 works of art ondisplay in the House of BluesNew Orleans venue.

In 2000 Rachel became thefounding archivist for the New

Orleans Jazz & Heritage Foundation,authoring and implementing archival poli-cies and procedures and beginning theprocess of inventorying, accessioning, andcataloguing the foundation’s musical heri-tage collection. A significant resource forthe study of New Orleans music, the collec-tion includes more than 2,000 recordingsfrom the African, folk, food, and musicheritage stages at Jazz Fest and approxi-mately 1,300 reel-to-reel tapes fromWWOZ’s formative years. While workingat NOJHF, Rachel Lyons completed themaster’s program in arts administration atthe University of New Orleans.

14

IN THE COMMUNITY

Priscilla Lawrence was named to the boardof trustees of the Alexandria Museum of Art.Warren J. Woods was elected treasurer of theSoutheastern Registrars Association. JohnH. Lawrence was elected to the board of theVieux Carré Property Owners, Residents,and Associates. Pamela D. Arceneaux wasinterviewed by Chum Television, Ltd., aToronto-based company, for a documentaryon Storyville. Mary Lou Christovich gave aseminar, “Tracing Louisiana Architecture,” atFORUM 2004, the annual meeting of theAmerican Institute of Architecture Students.

PUBLICATIONS

John H. Lawrence, “The Parisian Photo-graphs of Clarence John Laughlin,” inClarence John Laughlin (exhibition cata-logue) (Paris: Bernard Dudoignon, 2004).

CHANGES

Cora Noorda, development assistant; AnnGilbert, docent department.

INTERN UPDATE: RACHEL LYONS

EditorsJessica Dorman

Lynn D. Adams, Mary C. MeesHead of PhotographyJan White Brantley

Additional photography byKeely Merritt

The Historic New Orleans CollectionQuarterly is published by The Historic NewOrleans Collection, which is operated by the Kemper and Leila WilliamsFoundation, a Louisiana nonprofit corpora-tion. Housed in a complex of historic build-ings in the French Quarter, facilities are opento the public, Tuesday through Saturday,from 10:00 a.m. until 4:30 p.m. Tours of thehistory galleries and the Williams Residenceare available for a nominal 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

hnocinfo@hnoc.org • www.hnoc.orgISSN 0886-2109

© 2005 The Historic New Orleans Collection

Once in French AmericaCanadian Museum of Civilization

Hull, QuébecDates of loan:

May 17, 2004-April 30, 2005

Arti & Architettura, 1900-2000Palazzo Ducale

Genoa, ItalyDates of loan:

September 15, 2004-February 28, 2005

American Visions of Liberty & FreedomVirginia Historical Society

Richmond, VirginiaDates of loan:

October 1, 2004-February 28, 2005

Fourth Annual State Home Showcase of Art Louisiana Governor’s Mansion

Baton Rouge, LouisianaDates of loan:

November 11, 2004-April 26, 2006

ON LOAN

T he Historic New Orleans Collection lends materials from the permanent collection for spe-cific periods of time to other private or public museums, historical organizations, or educa-tional agencies for use in temporary exhibitions. These institutions must comply with TheCollection’s security and environmental standards.

Materials from The Collection will be included in the following exhibitions:

S TA F F

PLEASE SEND

Quantity Amount

____ Charting Louisiana, $95.00 ______

____ Battle of Lake Borgne, $15.00 ______

____ Sketch of the Position of British

and American Forces, $15.00 ______

____ A Map of Part of West Florida, $15.00 ______

____ Battle of New Orleans puzzle, $10.00 ______

Taxes as applicable

9% Orleans Parish ______

4% other La. residents ______

Subtotal ______

Shipping and Handling

Charting Louisiana, $11 ______

Prints, $2 ______

Puzzle, $3 ______

Total Amount Due ______

Name_____________________________________

Address____________________________________

City, State, Zip______________________________

Telephone__________________________________

__ Visa __ MasterCard __ Amex __ Discover

__ Check or money order

Account Number____________________________

Exp. Date__________________________________

Signature__________________________________

The Shop is offering a number of products commemorating The Collection’s year-longcelebration of the ties between Great Britain and Louisiana. In addition to a jigsaw puzzleof Battle of New Orleans by Dennis Malone Carter, matted prints of the following imagesare available: a painting of the Battle of Lake Borgne by Thomas L. Hornbrook, a Sketchof the Position of the British and American Forces prior to the Battle of New Orleans, and AMap of Part of West Florida from the early days of British exploration. The prints sell for$15.00 and are matted to 11x14. The puzzle, which measures 5x7 when completed, sellsfor $10.00.

15

For the third year in a row, Entergyhas sponsored The Collection’s pro-fessional development workshops for

middle and high school social-studiesteachers in the Greater New Orleans areawith a grant from its Excellence in Educa-tion Foundation. Each year the AmericanPerspectives workshops, which are part ofThe Collection’s Teaching American His-tory in New Orleans (TAHINO) educationprogram, have expanded in size and scope.In the 2004-05 academic year, workshopsare being offered to public, private, andparochial school teachers in Orleans, Jeffer-son, St. Bernard, St. Charles, and Plaque-mines Parishes. The workshops provideinteractive classroom strategies for intro-ducing and integrating primary source

materials into standards-based curricula formiddle and high school teachers. OnNovember 1, middle school teachers stud-ied the War of 1812 and the Battle of NewOrleans, examining documents, rare pam-phlets and publications, and manuscriptcorrespondence from the William C. CookWar of 1812 in the South Collection. OnNovember 15 and January 24, high schoolteachers used primary sources to explorecivil rights and the law in Louisiana, tracingthe impact of legislation on slaves, free peo-ple of color, Native Americans, women, andother immigrant and minority groups inthe state. Upon completion of the full-daycourse, participants receive a certificate foreight hours of continuing learning units.To date, more than 350 teachers have par-

ticipated in the American Perspectives work-shops, which are free and include lunch andparking. For more information, call ore-mail Sue Laudeman, (504) 598-7154,sue@hnoc.org.

Continued Support from Entergy…Continued Teacher Training

CORRECTIONS

In the fall 2004 issue of the Quarterly,Arsène LaCarrière Latour was misidenti-fied as the maker of Sketch of the Positionof the British and American Forces…(1971.98). The maker of this map isunknown. The caption for Capture ofAmerican Gun Vessels off New Orleans…incorrectly refers to the vessels surround-ing the American gunboats as Britishbrigs and sloops; they are in fact barges.

Order the award-winning

publication

THE SHOP

E d u c at i o n a l O u t r e a c h U p d at e

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 REQUESTED

On Monday, November 1, members of the Christ Church Cathedral congregation gathered for a reception celebrating the opening of A Heritage ofFaith: Christ Church Cathedral and Episcopal Louisiana, 1805-2005. Pictured are, first row, the Right Reverend James B. Brown (retired bishopof the diocese of Louisiana), Mark Cave, and the Very Reverend David A. DuPlantier (dean, Christ Church Cathedral); the Reverend Steven M.Roberts (canon, Christ Church Cathedral), Herbert N. Gant, Sarah Morris, and Wade Toth; Anne Gardiner, Virginia McIlhenny, and MarthaEshleman; second row, James Huger, Eugenie Huger, Susan Gundlach, and H. Merritt Lane III; Bill and Olive Forman, Priscilla Lawrence, andMark Cave; Irvin Mayfield and Troy Bush.

Francesco Cardinal Marchisano, Archpriest of the Vatican Basilica of St. Peter, Vicar General for His Holiness, recently visited The Historic NewOrleans Collection for a tour of the complex. Pictured in the director’s gallery are Bunny Hinckley, Monsignor Crosby Kern (rector of St. Louis Cathedral), the Vicar General, Priscilla Lawrence, John Lawrence, Martha Walker, John Walker, and Alfred Lemmon.

AT THE COLLECTION