Volume XVIII, Number 1 Winter 2000

A Wealth of PortraitsCreole Children by François Bernard, 1872 (1999.91.1)

NEW ACQUISITIONSENRICH THE HOLDINGS

Three recently acquired paint-ings f rom the 18th- and19th-centur ie s not only add to the history of New

Orleans, but they also reveal the status,character, and personality of importantresidents from the colonial periodthrough Reconstruction. José FranciscoXavier de Salazar y Mendoza (mid-1770s-1802) paints a double portrait of a mil i tary off icer and his son; Louis Antoine Collas (1775-1856) gives us a formal portrait of a woman;and François Bernard (b. ca. 1812) portrays a group of children in an interior setting.

Salazar, the earliest known painterto come to prominence in New Orleansduring the Spanish colonial period, por-trayed Julien Vienne and his son JulienGeorge Vienne about 1796. The portraitis one of few known paintings of thisperiod to include a child with a militarysubject. Vienne, who was born inNormandy in 1755, served as captain inthe New Orleans Artillery Militia andfought in the 1779 Gálvez expedition.Governor Gálvez commended him tothe Spanish court for his valor in theBaton Rouge campaign, an action that“resulted in the acquisition of 430leagues of the best land, of the most fer-tile and richest of the Mississippi.” Inthis double portrait, the elder Viennewears his uniform and hat. His sonstands informally, wearing a simplewhite dress and holding his pet in hisright arm and a flower in his left hand.Military historian Timothy Pickles citesVienne’s uniform as typical of theSpanish uniforms worn before 1800 inembroidery, trim, and style. The red

It’s a rare occasion when the fall yields sucha rich harvest: three major portraits to addto the Collection’s holdings. Old portraits— glimpses into another era — providethe opportunity to encounter a number of18th- and 19th-century inhabitants of New Orleans. Time is held at bay. The demeanor of the subjects, their clothesand hairstyles, are rendered with painterlyprecision and invite an intimate look at history.

Captain Julien Vienne, whose portraitis attributed to José Francisco Xavier deSalazar y Mendoza, lived at a time whenthe colonial city was in Spanish hands andrecovering from a devastating fire. A plumpMme Verret, painted by Louis AntoineCollas, proudly wears a fine dress of 1822,accented with lace. François Bernard’s Creolechildren are posing momentarily and willsoon be amusing themselves with tops anddolls and playthings in the year 1872. Thecaptain’s eyes sparkle, Madame is subdued,the children pensive. But whatever emotionis conveyed, the eyes seem to say, “We are real.We come from this place.”

The portrait is a time-honored form, nomatter the artistic trend of the day. Artistspainting in 19th-century New Orleans ––or in the late 18th-century as was the

Mexican-born Salazar — found customerswho were eager to preserve themselvesthrough art. Paint and canvas wouldendure, but life was chancy.

Salazar settled in New Orleans in thelate 18th century and remained in the cityuntil his death in 1802. Collas, born inFrance, was a traveling artist who livedbriefly in New Orleans, returning periodicallyto paint portraits. Another Frenchman,Bernard, painted portraits on a grand scale,as well as genre scenes and landscapes.

The portrait artist, interpreting the face of the sitter — and his expectations —makes the past immediate. Poet and criticZbigniew Herbert, writing of anotherartistic group — these were 17th-century Dutch painters — comments that “theirrole in society and place on earth were notquestioned, their profession universally rec-ognized and as evident as the profession ofbutcher, tailor, or baker. The question whyart exists did not occur to anyone, becausea world without paintings was simplyinconceivable.”

True also of Salazar, Collas, andBernard, whose works are a skillful blend-ing of art with our desire to make belovedfaces immortal.

— Louise C. Hoffman

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Mme Furcy Verret, née ElmireOlivier de Vezin by Louis AntoineCollas, 1822 (1991.91.2)

A Wealth of Portraits

cockade on his hat continues to be usedas part of the Spanish uniform. Vienne,who was a lieutenant in 1779, wasbreveted captain in 1792. Since Vienneis wearing epaulets on both shoulders inthe manner of field officers, it is proba-ble that Vienne was promoted to therank of captain before the por-trait was painted. Mr. Picklesp o i n t s t o t h e b a d g e s o nVienne’s collar, which could begrenades, insignia worn bygrenadiers and also worn byofficers in artillery units. Theclothing is characteristic of themixture in military uniformsof the period. Vienne died in1799. His son, who was aboutfive years old at the time of theportrait, was born in 1790.

Collas, who earned his liv-ing in New Orleans during the1820s and 1830s by paintingminiatures as well as portraits,portrays Mme Furcy Verret, néeElmire Duverjé de Vezin in amanner typical of the time.The 1822 portrait shows herbust-length against a solidbackground. She wears a blackdress with bateau neckline,d o u b l e s t r a n d o f p e a r l s , and d rop pea r l e a r r ing s .Characteristic of many por-traits of women at the time,Mme Verret is portrayed withemphasis on the sitter’s like-ness rather than an idealizedimage. Mme Verret, the daughter ofNicholas Joseph Godofroi Olivier deVezin and Marie Marianne Bienvenu,was born in 1797. She was the grand-daughter of Pierre François Olivier deVezin, surveyor of the province ofLouisiana, whose five sons served underGálvez in the Revolutionary War. Shemarried Furcy Verret, the son of JacquesVerret and Marie Élisabeth Duverjé in1 8 1 5 . P è r e A n t o n i o d e Se d e l l a ,Capuchin priest, who was pastor of theSt. Louis Cathedral in New Orleans, sol-emnized their wedding on April 4, 1815.They had three daughters: Louise,

Elmire, and Elodie Angèle. Mme Verretdied in 1848. Furcy Verret was a grand-son of former lieutenant governor ofLouisiana Nicholas Verret. Their planta-tion, which faced the river and extendedto Bayou Villeré, measured 475 feetfront and extended 24 arpents. The

Verret Canal, excavated by Verret in1814, served to drain his property.According to family legend, the Lafittecorsairs used the canal for passage toChenière Caminada, Grand Terre, andBarataria. THNOC’s manuscript hold-ings also include papers pertaining to theVerret family.

François Bernard, who studied inParis with Paul Delaroche, was active inNew Orleans during the late 1850sthrough the mid-1870s. He settled inNew Orleans at the request of severalsugar planters who commissioned him toportray themselves and their families.

Creole Children, painted in 1872, revealsmuch about the children and their socio-economic status. They are shown in aninterior with the clothing and accou-trements of a family of substantial means.As evidence of their education, the oldestboy sits with a book on his lap, while a

younger boy leans on a booklying open on a cloth-coveredtable. Two of the girls wear lace-trimmed velvet dresses made inthe same style, although thecolor of the fabric is different.An assortment of toys is strewnon the richly carpeted floor,and a plush red cloth hangsbehind them. During theReconstruction period in NewOrleans, portraits were lessaffordable than during theantebellum period. The wealthof the family, though under-stated, is apparent in the overallsetting. Bernard, who was citedin local newspapers for his abil-ity to convey “factual portrai-ture,” captures the family like-ness in this group of children.

These three paintings areexcellent examples of the por-traiture desired by citizensfrom the late 18th- throughthe mid-19th century. Theydocument the sitters and theartists who came to promi-nence. Together they supple-ment the Collection’s richholdings and increase our

knowledge of the early history of the cityand state.

— Judith H. Bonner

__________Sources: Artists Files, THNOC; Mrs. ThomasNelson Carter Bruns, Louisiana Portraits (NewOrleans, 1975); Estelle M. Fortier Cochran, TheFortier Family and Allied Families, (San Antonio,1963); A Dictionary of Louisiana Biography,Louisiana Historical Association in cooperationwith the Center for Louisiana Studies of theUniversity of Southwestern Louisiana (NewOrleans, 1988); Jack D. L. Holmes, Honor andFidelity: The Louisiana Infantry Regiment and theLouis iana Mili t ia Companies , 1766-1821(Birmingham, Alabama,1965).

Captain Julien Vienne and son by José Francisco Xavier de Salazar y Mendoza, ca. 1796(1999.91.3)

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On January 22, 2000, the HistoricNew Orleans Collection is offering

the fifth annual Williams ResearchCenter Sympos ium, “France andLouisiana: Journée d’Étude,” in the GrandBallroom of the Omni Royal OrleansHotel. Speakers from both France and theUnited States will present papers on theFrench heritage of Louisiana. Excerptsfrom three of the papers appear below.Also participating are Carl Ekberg,Illinois State University; Elisabeth deGrimoüard-Caude, conservateur de patri-monie, Cour d’Appel, in Rouen; and Dr.Derrick Cartwright, executive director ofthe Musée d’Art Américain in Giverny.

�“General Lafayette, George Washington’sprotégé and one of the true heroes of theAmerican Revolution, returned to theUnited States in 1824-25 as the guest ofthe nation. His trip turned into a tri-umphal progress as he visited all twenty-four states of the union. Lafayette’ssojourn in Louisiana proclaimed to the

world that the former French territory hadbecome truly part of the United States.”

— Patricia BradyDirector of Publications

The Historic New Orleans CollectionCarnival of Liberty: Lafayette’s Visit to

Louisiana, 1825

�“Since slaveholders claimed to havedirect dominion over their slaves, andsince slaves denied the legitimacy of suchdomination, the function of slave lawhas always had a problematic quality.Often it appears irrelevant to the opera-tion of slave society. Yet, at criticalmoments, law reshaped slave life.”

— Ira BerlinProfessor of History

University of MarylandThe Case of the Code Noir and the

Transformation of Slavery in Louisiana

�“Jacques Nicolas Bussiere de Pouilly(1804-75) was quite possibly the mostimaginative, progressive, and best-

trained architect practicing in mid-nine-teenth century New Orleans….It is per-haps fitting that New Orleans’s mostprominent and symbolic building, theSt. Louis Cathedral, still towers over thecity’s central square in testimony to hisextraordinary creativity.”

— Ann MassonArchitectural Historian

New OrleansThe Architectural Career of

J. N. B. de Pouilly

“France and Louisiana: Journéed’Étude” will be repeated on May 6,2000, in Giverny, France, at theMusée d’Art Américain. THNOCis offering a tour to France, May3-10. For further information,please call Peter McLean, Ltd., at(504) 833-6275 or the reception-i s t a t the Wil l iams ResearchCenter (504) 598-7171.

De La Salle claiming the Louisiana territory in the name of Louis XIV. Boquin, lithographer (1970.1)

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FROM THE ACTING DIRECTOR

Thank you foryour wonderful

response to Queen oft h e S o u t h : N e wOrleans in the 1850s,our exhibition, book,and video based onThomas K. Wharton’s descriptive jour-nals. Exciting lectures will be held fromlate January through the beginning ofMarch further exploring New Orleans’sglorious era.

We are looking forward to a newexhibition opening at the end of Aprilon the history of New Orleans in the20th century. The two-part exhibitionwill feature collections documenting ourmost recent times.

For nearly three decades of growth,the Williamses’ collection of objects andthe foundation they established havesupported the study of the history of ourcity and region. The growth of the col-lections into a deep and rich wealth ofinformation chronicling our history isdue to direct gifts as well as acquisitionfunds established by benefactors whosaw the importance of continuing thelegacy of Kemper and Leila Williams.

Although most of the materials in thelibrary, curatorial, and manuscripts col-lections would be considered historic byvirtue of their age, the “historical pre-sent” and its preservation is of keeninterest to the Historic New OrleansCollection. In the vaults and on theshelves of the Williams Research Centerare books on Louisiana history pub-lished in the most recent years, contem-porary maps of the city, and microfilmsof recent newspapers. Many otherobjects, both large and small, permanentand ephemeral, chronicle the ebb andflow of life in our area. We hope thatyou will continue to think of us whensuch materials in your possession need asecure and accessible home so that theymay be appreciated and studied byfuture generations.

— Priscilla Lawrence

THIRD SATURDAYA CONTINUING PROGRAM

AT THE WILLIAMS RESEARCH CENTER

410 Chartres Street9:30 - 11:00 a.m.

An introduction to research at theWilliams Research Center, each sessionincludes an orientation to the book, manu-script, and visual image collections. Thefinal portion of each session focuses on aparticular resource.

FEBRUARY 19: Sources for the Study of Mardi Gras

MARCH 18: New Orleans in the 1850s

APRIL 15: SPECIAL PRESENTATION

The Ursuline Library: Acquisition,Care, and Access, in celebration ofNational Library Week. Presenters:

Gerald Patout; Sr. Susan Kienzler, OSU;and Dr. Charles Nolan

Limited enrollment, reservationsrequired (504) 598-7171. Light refresh-ments follow.

Mary Louise Christovich, presidentof the Kemper and Leila Williams

Foundation, has been in the spotlight on numerous occasions over the past few months.

On September 21, along with nineother community volunteers, Mrs.Christovich received the St. Elizabeth’sGuild Volunteer Activist Award for 1999presented by Dillard’s Department Storeand Prescriptives Cosmetics at a benefitfor St. Elizabeth’s, a charitable institu-tion for girls.

In October she was one of the recip-ients of the Ten Outstanding Persons(TOPS) Award, presented by FamilyService of Greater New Orleans. Mrs.Christovich was honored for her volun-teer, charitable, and civic service at the26th annual TOPS gala on October 21.

On November 1, Mrs. Christovichpresented “Twenty-Five Years of SaveOur Cemeteries,” a slide lecture spon-sored by Louisiana Landmarks Society

and Save Our Cemeteries, Inc. SOC wasfounded by Mrs. Christovich in 1974.Also in November, she received an awardfrom the Freedoms Foundation. InJanuary Mrs. Christovich spoke to theLouisiana Historical Society aboutArsène Lacarrière Latour’s interpretationof the Battle of New Orleans.

MRS. CHRISTOVICH HONORED

THE FIRST ANNUAL

BILL RUSSELL LECTURE

Dr. Michael White, jazz historian and musician, speaks on Jelly Roll Morton.

Thursday, April 13, 20007:30 p.m., 410 Chartres Street

Jelly Roll Morton, September 1939. Photograph byOtto Hess? (92-48-L)

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In the past 20 years, the Historic NewOrleans Collection has made a con-

scious effort to develop photographicholdings which not only constitute a sig-nificant resource in terms of photo-graphic collections, but which serve as acomplement to the other visual materi-als held by the museum. Toward thatend, photographic acquisitions havetended to be focused on obtaining bod-ies of work by photographers and stu-dios important to the region, rather thansingle, albeit desirable, images. The abil-ity that such an approach offers to marktrends and track changes over time isextremely useful in gauging the visualcharacter of history. “Bodies of work” isa term that encompasses both relativelysmall holdings by contemporary photog-raphers, and multi-thousand image col-lections, which represent the total life-span of commercial studios. To be sure,unique or masterpiece images are part ofcollection policy, serving as highlights inthe historical continuum formed by thelarge collections.

A primary criterion for the pho-tographs acquired by the Collection isthe depiction of specific information of adocumentary or descriptive character.

Among THNOC’s major photo-graphic holdings in the curatorial divisionare the Eugene Delcroix Collection; JayDearborn Edwards Photographs; CharlesFranck Studio Collection; Richard KochHistoric American Buildings Survey

Photographs; ClarenceJ o h n L a u g h l i nPhotographic Archive;D a n i e l S . L e y r e rCollection; LouisianaWor ld Expos i t ionPhotographs; StuartM. Lynn Collection; Jessie GouldRainwater, Jr., Photographs; Michael A.Smith Photographs; Sam Sutton - ChesterDyer Aerial Photographs Collection; BetsySwanson Architectural Photographs; DorisUlmann Photographs; and MorganWhitney Collection. These photographswere acquired through donation and pur-chase before 1990.

More recent groups of pictures addedto the holdings include works by LyleBongé, (jazz musicians and events fromthe 1960s); Jules Cahn (New Orleans jazzmusicians and cultural events, 1950s—1980s); Walker Evans (architecture of NewOrleans and environs, mid-1930s); AbbyeGorin, (architecture and events of NewOrleans and environs, 1960s); NormanThomas (jazz funerals and Bourbon Streetnightlife, 1960s); and Randell B. Vidrine(documentary, autobiographical, and portrait photographs, 1980s –1990s).

Many smaller print holdings bydozens of photographers are representedin the Collection as well, including thosethat are part of manuscripts collections.A short guide to the photographic collec-tions is available in the museum Shop.

— John H. Lawrence

THEPHOTOGRAPHICCOLLECTIONS

Smoke of Destruction, #2 (Linwood Plantation),1939, by Clarence John Laughlin, photoprint(1981.247.1.848)

Juanita Gonzales, ca. 1932, by Joseph W. “Pops”Whitesell, photoprint (1978.122.8)

Rivergate construction, foot of Canal Street, 1966,by Sam R. Sutton, photoprint (1984.166.2.430).Gift of Sam Sutton

The current exhibition at the Collection, on view until April 8, and abook, Queen of the South: New Orleans, 1853-1862, highlight the observa-tions of Thomas K. Wharton, the superintendent of construction for theCustom House.

ON VIEW

W ith computer enhancement,a picture today can tell a

thousand lies. But pictures fromthe past were no more reliable.Nineteenth-century magazines andnewspapers shamelessly alteredpictorial reality to meet a deadlineor outshine a rival. These twoprints are a graphic case in point.

In 1842 a talented free manof color, artist Jules Lion, created amoody, evocative lithograph of theFrench Quarter, looking downChartres from St. Peter Street. Theview shows the old St. LouisCathedral with its bell-shaped Spanish-era towers, portions of the flat-roofedCabildo and Presbytère, one of thedilapidated rental buildings along St.Ann Street, and a portion of the Placed’Armes with its rows of well-growntrees. Printed by Manouvrier andChauvin, numerous copies of this litho-graph were sold.

The print on the left depicts thegrand public fête of February 9, 1856,honoring the inauguration of ClarkMills’s statue of Andrew Jackson, thehero of the Battle of New Orleans.Thomas K. Wharton was present in thecrowd of 20,000, thoroughly enjoyingthe “superb spectacle” of gay militaryuniforms, gilded banners, and excellentmusic. This scene was published March 1in New York by Frank Leslie’s IllustratedNewspaper, a new mass-circulation jour-nal (its first issue was December 15,

1855) with large, striking illustrationsand up-to-the-minute news. Leslie’smotto— “Never shoot over the heads ofthe people”— created a vivid and lively,if somewhat superficial, paper. To repro-duce large engravings quickly, Lesliesawed the wood blocks into sections,assigning a section to each of his army ofengravers, and then rejoined the blockfor printing.

Should a researcher assume that thepaper had an artist in faraway NewOrleans who provided an accurate draw-ing of the event? Not at all. Notice thatthe journal’s illustration, minus the cele-brants, is a copy of Lion’s lithograph,down to the smallest detail. But it is aninaccurate representation of the scene in1856. By then the shabby old cathedralhad been almost entirely rebuilt in a newdesign with pointed spires, mansardroofs had been added to the Cabildo and

the Presbytère, the buildings along St.Ann had been demolished and replacedby the lower Pontalba building, and thetrees in Jackson Square (the renamedPlace d’Armes) had been cut down andreplaced by a French garden.

Such pirated and altered prints werecommonplace in newspaper s and magazines of the day. Researchers shouldbeware of trusting the evidence of their eyes.

— Patricia Brady

SEEINGisNotBELIEVING

Procession in honor of the unveiling of the equestrian statue of Andrew Jackson, 1856 (1974.25.14.157); inset, The Cathedral, New Orleans, by Jules Lion, lithographer, 1842 (1940.10)

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In mid-1898, after establishedtreatments had failed, a former

resident of New Orleans namedHorace Fletcher cured himself ofobesity and chronic illness with aregimen of his own. Fletcher lost50 pounds and acquired “thestrength and endurance of ayoung giant.” Combining dietand philosophy, Fletcherismadvocated prolonged chewing,eating only what and when theappetite dictated, and cultivatingoptimism. Its supposed benefitsincluded ideal weight, stamina,moral fiber, and — sinceFletcher thought chewingextracted more nutrientsfrom food — economy. Evenwell-wishers laughed at first.“Shame to us unbelieversthat we were!” recalled onefriend, the New Orleanswriter Mollie Moore Davis,“we pelted [these ideas] withkindly ridicule.” In time,h o w e v e r , F l e t c h e r i s mbecame a popular healthcult.

Fletcher had no training in dietetics.After a spell as a sailor, the Massachusettsnative spent 20 years trading with the FarEast before coming to New Orleans in1889 to manage a branch of the I. D.Fletcher Company. Headquartered in NewYork, this thriving family firm producedbuilding supplies. Fletcher supervised itsfactory at Gravier and Magnolia Streetsuntil his retirement at age 48 in 1897.

Fletcher retained fond memories ofhis years in the South, but in the springof 1894 he simultaneously went throughtwo bad experiences that stemmed fromhis lifestyle in New Orleans. The resolu-tion of these problems explains theeclectic nature of Fletcherism. A formera th l e t e and pre s ident o f the SanFrancisco Olympic Club, Fletcher hadpreviously prided himself on his fitness.

He now weighed 217 pounds,although only 5' 6" tall, andwas constantly ailing. When

life insurance companies refused himcoverage, he believed himself “ready forthe ‘Human Scrap-heap’.” Fletcherblamed the “luxurious living” and“aggressive hospitality” he and his wifeGrace had encountered in society circles,but he in particular had loved going toparties and helping to run Mardi Grascelebrations. Moreover, the Fletchersthemselves reportedly held “salons onthe style of those of the French empire.”Emulation of the local elite had furtherconsequences. In spring 1892, perhapsat the invitation of fellow members ofthe Pickwick and Boston Clubs, Fletcherjoined the coterie of rich men who keptthe French Opera House afloat. Anextravagant pledge for the 1893-94

season left him owing thousands. Fletcher

had to curtail his social activities, giveup the house he had rented at 998(now 4010) St. Charles Avenue, andsend his family to stay with relativesin order to clear the debt in twoy e a r s . D i s t r a u g h t at the combination of events,Fletcher, normally the “happiest and most joy-giving of mortals,”according to Mollie Moore Davis,became depressed.

Had he been less distracted byhis financial problems, Fletchermight not have ignored a sugges-tion made in February for reducinghis weight. After eating an enor-mous meal at the Franklin home ofJulius J . Pringle, a renownedgourmet, Fletcher asked his hosthow he stayed so slim. By chewingfood 32 times, Pringle replied,because this prevented over-eating.Later, Fletcher would credit the“epicurean philosopher” with pro-viding the most distinctive featureof Fletcherism.

More immediate solace came fromfriends anxious to raise Fletcher’s spirits.Joseph Jefferson, an actor famed for hisportrayal of Rip Van Winkle, remindedFletcher that even the unfortunate hadsomething that other people envied.Ernest Fenollosa, curator of the orientalcollections at the Museum of Fine Artsin Boston, recommended Buddhistteaching to eliminate negative emotions.Mollie Moore Davis, at whose famousreceptions Fletcher was a regular guest,encouraged him to vent his feelings inwriting. The result was an essay on opti-mism for a local philosophy club calledthe Ganglionics. Fletcher’s argumentswe re heav i l y in f luenced by NewThought that maintained that thinkingabout being well made one well, andthat thinking moral thoughts enhancedachievement. The publication in 1895 ofan extended version of his essay, titledMenticulture or the A-B-C of True Living,

HORACE FLETCHER

Photograph of Horace Fletcher and book from theMary Evelyn Jahncke Papers (90-79-L)

CELEBRATING 300 YEARSIn 1699 Pie r re Le Moyne , s i eur

d’Iberville, took possession of Louisianafor France. This important date marks thebeginning of the French presence in theregion, a presence that has endured andshaped the state’s history and develop-ment. Louisianians have acknowledgedthe ties between France and Louisianawith a series of cultural events that comeunder the banner of the year-long celebra-tion known as FrancoFête. THNOC hascommemorated the anniversary withnumerous recent acquisitions relating tothe colonial period of Louisiana.

Manuscripts99-1-L Archive of the Ursuline Nuns of the

Parish of Orleans (microfilm)99-12-L The Ida Schanil (Mrs. William Gonnet)

Historical Collection, ca. 1740-ca. 1903 99-15-L Lettres Patentes du Roi, Concernant la

vente & la discussion des biens, meubles& immeubles de la Compagnie & Sociétédes Jésuites, en la Colonie de la Louisianele 11 Février 1764

99-16-L Arrest du Conseil d’estat du Roy,Concernant la retrocession faite à SaMajesté par la Compagnie des Indes, de laconcession de la Loüisiane & du Pays desIllinois, 13 Janvier 1731

99-26-L Natchez Trace Collection: Provincial andTerritorial Papers. (Center for AmericanHistory, University of Texas, microfilm)

99-35-L Soniat du Fossat Family Papers, ca. 1607-1932, bequest of Elise and Lucille Soniat

99-44-L Records of French Superior Council andSpanish Judicial Records, 1714-1803.(Louisiana Historical Center, microfilm)

99-46-L Inventory of Community Property ofJean Lacou Dubourg and Marie JeanneIsambar, 1781

99-91-L Pierre de Rigaud Vaudreuil de Cavagnial Papers. ( The HuntingtonLibrary, microfilm)

99-109-L Prudhomme Family Papers 1780-192099-110-L Iberville Prospectus for the founding of

Louisiana 1699 99-112-L Arrest du Conseil D’État du Roy, qui pro-

roge pour dix ans l’exemption des droitsd’entreé & de sortie sur les denrées &marchandises que les Négocians françoisferont transporter dans les colonies de laLouisiane; & l’exemption, pendant lemême temps, de tous droits d’entrée surles marchandises & denrées du crû & ducommerce de ladite Colonie. Du 30Novembre 1751

Library99-208-L Real Decreto, que previene las reglas,

y condiciones con que se puede hacerel comercio desde España a laProvincia de la Luisiana (Madrid: enla Imprenta de Don GabrielRamirez, 1768)

Curatorial1999.52.1 Map: The Coast of West Florida

and Louisiana/The Peninsula andGulf of Florida (Thomas Jefferys,cartographer, 1775)

1999.52.9 Map: Carte reduit de L’OcéanOccidental (Jacques Nicolas Bellin,cartographer, 1766)

1999.52.10 Map: A New Map of theTerraqueous Globe according to the Ancient Discoveries and mostgeneral Divisions of it intoContinent and oceans. (EdwardWells, cartographer, ca. 1700)

1999.44.4.1-4 Map: Canada, Louisiane Et TerreAngloises (Jean-Baptiste Danville,engraver, 1755)

1999.63 Map: Accurata delineatio celerrimaeRegionis Ludovicianae vel GalliceLouisiane et Canadae (GeorgeSeutter, cartographer, ca. 1730)

won Fletcher national acclaim. He pub-lished another book in the same veintwo years later.

Restored emotionally and financially,though still the same “fat, flabby, help-less invalid” he had been three years ear-lier, Fletcher retired in mid-1897 andspent the next year fruitlessly touringhealth spas. Then, alone in a Chicagorestaurant one day, everything startedfalling into place. Upon a whim, hetried Pringle’s prolonged chewing,which left him satiated before he hadfinished his meal. The future was settledat that point, for Fletcher had alwayshad great faith in his impulses. “The factthat I wanted a thing,” he once said,“was the surest sign that that was thething that I ought to have.” NewThought, which encouraged people toact on their morning thought, the firston awakening, had merely bolstered thisself-centeredness. Fletcherism’s relianceon the appetite’s dictates was theinevitable outcome.

New Thought and eating techniquesproved a winning combination thatattracted a large following on both sidesof the Atlantic, even among those whodid not need to watch their weight.Horace Fletcher’s experiences in NewOrleans suggest the reasons. Fletcherismaimed to cheer people up as well as totackle their physical problems, and it letpeople feel they had some control overtheir circumstances. Fletcher himselfnever wavered in his belief that this wouldmake the world a better place to live in.

— L. Margaret Barnett

Margaret Barnett, a former Williams ResearchFellow, is a professor of history at the University ofSouthern Mississippi in Hattiesburg.__________Sources: R. D. Blumenfeld, R. D. B.’s Diary 1887-1914 (London, 1930); Jahncke Papers, THNOC;M. E. M. Davis, Keren-Happuch and I (NewOrleans, 1907); Picayune, Mar. 7, 1893, Dec. 25,1898; Ladies’ Home Journal, Sept. 1909; Argonaut,Aug. 31, 1903; Independent, Mar. 19, 1908.

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Prospectus, proposing the establishment of a colony onthe Mississippi River in North America, by Pierre LeMoyne, sieur d’Iberville, Paris, probably summer of1699 (99-110-L)

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THE HISTORIC NEW

ORLEANS COLLECTION

encourages research inthe Williams ResearchCenter at 410 ChartresStreet from 10:00 a.m.to 4:30 p.m. Tuesdayt h r o u g h S a t u r d a y( e x c e p t h o l i d a y s ) .

Cata loged mate r i a l s ava i l ab l e toresearchers include books, manuscripts,paintings, prints, drawings, maps, pho-tographs, and artifacts about the historyand culture of New Orleans, Louisiana,and the Gulf South. Each year theCollection adds thousands of items to itsholdings by donation or purchase. Only afew recent acquisitions can be noted here.

Elizabeth Nicholson Fischer donateda pair of English flintlock pistols formerlyowned by J. R. Quintero, a reporter forthe Picayune in the 19th century.Quintero outlined the etiquette of duel-ing in an 1883 publication titled Thecode of honor, its rationale and uses, by thetests of common sense and good morals,with the effects of its preventive remedies.The guns, manufactured by EdwardLewis and Francis Tomes between 1825and 1839, are made of Damascus steelwith engraved lock plates, silver trim,and platinum “touch holes.” During the19th century, persons who felt aggrievedby articles appearing in the newspaperscustomarily challenged the newspaper’sproprietor and editor. Family traditionhas it that Quintero offered his duelingservices to Eliza Jane Nicholson after shebecame publisher of the Picayune .Whether Mrs. Nicholson accepted hisoffer is unknown.

Charles A. Snyder gave a large framedoval photograph of his great aunt, ShirleyBlossom Haas, taken between 1898 and1900. Christopher Porché-West donated18 of his photographs, including 12 fromhis series of Mardi Gras Indians, as well asscenes of the 1984-85 Louisiana World

Exposition, and a view of a man standingby the tomb of the Cheval, Desdunes, andFrere families. The photographs weretaken between 1984 and 1995. Maury A.Midlo contributed a group of pho-tographs and other materials relating toWDSU-TV, K&B Drug Stores, AudubonZoo , Vo lun t e e r s in Gove rnment(VIGOR), the Plaza in Lake ForestShopping Center, and PontchartrainBeach Amusement Park.

Portraits, photographs, and a paintedcrest relating to the Soniat family come

through the bequests of Elise Soniat andLucille Soniat. The late Jake HymanKleindorf gave two prints by FrenchQuarter artist Guy Livingston Woolleyin memory of Mrs. Odile Baltazar andformer THNOC staff member DaleTriche. Mr. Kleindorf also contributedtwo enameled souvenir spoons datingbetween 1909 and 1915; one depicts thenewly constructed Supreme CourtBuilding (called the Million DollarCourt House), while the other shows theold Grunewald Hotel.

Allison “Tootie” Montana and Yellow Pocahontas, from the Mardi Gras Indians series, by Christopher Porché-West (1999.87.8)

CURATORIAL

WILLIAMS RESEARCH CENTER ACQUISITIONS

designs for the Mystic Club balls.Louis C. Bristow and Charles A.

Bristow gave a large number of maps,plans, oil field logs, and other papersrelating to Louisiana and to LouisBristow and his activities in the oilindustry. Dr. Donald A. Pavy provided a

color poster, “What Really Happened,”promoting his recent book on the assas-sination of Huey P. Long. Local artistBessie Mire McGhee, originally fromUnion (now Convent), Louisiana, hasdonated four of her drawings.

— Judith H. Bonner

Born in New Orleans, Allison Owen(1869-1951) graduated from TulaneUniversity (1888) and continued hisstudies at the Massachusetts Institute of

Technology and the U.S. War College inWashington, D.C. Owen was a sketchartist, painter, and teacher, but he is pri-marily remembered for his architecturalwork. He joined with Collins CerréDiboll, Sr., (1868-1936) to form theDiboll and Owen architecture firm

(1895-1936). The firm producedseveral noteworthy structures,including the criminal courtbu i ld ing and j a i l on TulaneAvenue, Notre Dame Seminary,and the public l ibrary at LeeCircle, later replaced by an officebuilding. Owen retired as a majorgeneral after commanding the FirstL o u i s i a n a F i e l d A r t i l l e r y(Washington Artillery) on theMexican border in 1916 and the141st Field Artillery in France in1918-19. During his tenure inEurope, Owen sent postcards homethat filled two albums. The archi-tectural images serve as a traveldiary and reveal Owen’s designinterests. His contributions toarchitecture are matched by aremarkable legacy of communityinvolvement in various civic organi-zations. The postcard albums arethe donation of Lloyd Young.

Many important buildings inNew Orleans have survived becauseof individuals who understand theimportance of preserving tangiblelinks to the past. Roulhac Toledanois a well-known preservationist andcontributor to the New OrleansArchitecture series published by theFriends of the Cabildo and author

of The National Trust Guide to NewOrleans. Her donation of a linear foot ofpapers includes research files on variousproperties, photographs, news clippings, and publications.

Scrapbooks document special inter-ests of the compiler while supplying aconsolidated body of information. Mrs.Donald Charles has donated five scrap-books, ca. 1870s-1918, compiled byGustav Keitz and Rosa A. Keitz, thedonor’s great-grandfather and great aunt.Gustav Keitz produced the earliest book

11

Daguerreotype of Louise Duralde, from the Soniatdonation (1999.61.9)

Postcard from Allison Owen’s World War I scrapbook: The CarpeauxFountain in the Luxembourg Gardens, Paris. Owen wrote, “This is the central feature of the big fountain and is the model used by the architech for the two groups on our new Post office at home. It is very fine.” The building, now a federal court, is onCamp Street in New Orleans.

Postcard views of New Orleans comefrom a number of donors. Tom Cartercontributed 24 French Quarter streetscenes and views of markets and otherbuildings, dating between 1938 and1966. Roy Flukinger gave a 1937 reliefh a l f t o n e p o s t c a r d o f t h e M a i nWaterworks Plant, and Jerome M.Stedman provided two 1968 views ofthe International Trade Mart Complex.The Northern Indian Center for Historydonated a postcard of the interior of theJesuit Church on Baronne Street and aview of Canal Street showing the Loew’sState and Saenger Theaters. Both viewsdate from the 1930s.

Other donations are related toMardi Gras. Gerald Day gave a 1906Rex krewe favor, and Milli Rouse donateda collection of invitations and dancecards from various Mardi Gras organiza-tions between 1888 and 1914 and anundated invitation to a musicale inmemory of Mildred Cobb Edrington.Mrs. H. Hunter White, Jr., has donatedball favors for the krewes of Apollo,Atlanteans, Comus, Mithras, Momus,Mystic, Rex, and the Twelfth NightRevelers. Dr. and Mrs. Thomas E. Weissgave dies cast for Mardi Gras doubloonsby H. Alvin Sharpe and other materialsrelated to Sharpe’s life and career. LeoVan Witsen donated 117 costume

MANUSCRIPTS

filled with news clippings of poetry andarticles. The remaining four, arranged inthematic fashion, were probably com-plied by Rosa Keitz. Scrapbooks are use-ful research tools, but preservation is anarchival challenge. They are often assem-bled on acidic paper with damaging adhe-sives that facilitate deterioration.

Three recently acquired scrapbooksmade by Irene Barrow of Roberta GrovePlantation in Houma, Louisiana, revealher interest in Louisiana history. “APortfolio of Old Plantation HousesR e f l e c t i n g t h e G l o r y T h a t Wa sLouisiana’s,” compiled in the 1890s,includes newspaper articles and a list ofplantations and owners in each parish.The other two scrapbooks, dating from1909 to the 1930s, include news clippingsabout significant New Orleans buildings.

— M. Theresa LeFevre

A recent donation of sheet music fromSister Mary Hermenia Muldrey of thelocal order of the Sisters of Mercy relatesto several Collection holdings. Accordingto Sr. Muldrey, Convent Chimes Reverie,composed in 1895 by W. T. Francis andpublished by Louis Grunewald, is dedicat-ed to Mother Austin Carroll who was themother superior of the Convent of Mercyin New Orleans in the early 19th century.Described as charming and charismatic,Mother Austin Carroll established reli-gious communities all over the South.This piece complements other items per-taining to Mother Carroll and W. T.Francis. Two of these items connect bothindividuals to the World’s Industrial andCotton Centennial Exposition (1884-85).Report and Catalogue of the Woman’sDepartment of the World’s Exposition, Heldat New Orleans, 1884–1885 lists 12 piecesof Mother Carroll’s writings on display inthe literary section of the Woman’sDepartment of the Exposition. Francis’shabañera pieces were arranged after heheard the Mexican Military Band performat the Exposition grounds.

The Collection’s resources relating tothe Louisiana Purchase have recently beenenriched by the acquisition of a rare 1804

pamphlet, Report of the Committee ofCommerce and Manufactures…to EmployPersons to Explore Such Parts of the Provinceof Louisiana. This report, a presumed“draft copy” by Samuel L. Mitchell, one ofThomas Jefferson’s staunchest supporters,advocates the exploration of certain remoteand unknown parts of the Louisiana terri-tory, notably the headwaters of the Red,Arkansas, and Mississippi Rivers. It is per-haps the earliest official printed advocacyof the exploration of the Red River by theUnited States. In Thomas Jefferson’s plansfor the exploration of the West, Red Riverexpeditions were second in importanceonly to Lewis and Clark’s investigations of

the Missouri and Columbia Rivers.Through Red River exploration, Jeffersonintended to provide a commercially viabletransportation route to Santa Fe, to woothe region’s Indians to the American camp,and to test the disputed western borderwith New Spain.

Histoire Des Troubles De L’AmériqueAnglaise, Écrite Sur Les Mémoires Les PlusAuthentiques is a four-volume work thatcharts the French participation in theAmerican Revolut ion, f rom 1768through the signing of the Treaty of Parisin 1783. This rare work includes a largemap of the eastern and southern UnitedStates, north through a good part of

12

Carte d’une Partie de l’Amérique Septentrionale, included in Histoire des Troubles de l’Amérique Anglaise,1787 (98-182-RL.4)

LIBRARY

13

ON LOAN

The Historic New Orleans Collectionlends materials from the permanent

collection for specific periods of time onlyto other private or public museums, his-torical, or educational agencies for use intemporary exhibitions. These institutionsmust comply with the Collection’s securityand environmental standards.

Material from the collections will beincluded in the following exhibitions:

A H i s t o r y o f A f r i c a n A m e r i c a nPhotographers, Smithsonian Institution,Anacostia Museum and Center forAfrican American History and Culture,February – June 2000

Culture and History of New Orleans,Cultural Center of the Inter-AmericanDevelopment Bank, Washington, D.C,March – April, 2000

Treasure Houses, Louisiana Museums for aNew Millennium, selected sites in thestate of Louisiana, from May 2000 toSeptember 2001

Louisiana Collects, Meadows Museum ofArt, Centenary College, Shreveport,Louisiana, March – June 2001

INTERN UPDATE:CHARLES THOMAS

Since the early 1980s, the Historic NewOrleans Collection has hosted interns

from a variety of institutions. During1999, interns came from the University ofNew Orleans, Loyola University NewOrleans, Louisiana State University, TulaneUniversity, and the Institut Universitaire de Technologie de Dijon. The internsreceive a thorough introduction to a museum/research facility. In addition, they areassigned projects that match their skills andinterests with the needs of the Collection.

Charles F. Thomas, the first internfrom the Loyola history department,worked at the Collection from Augustthrough December 1992. After comple-tion of his degree, Chuck was hired towork on a project in the manuscriptsdivision. Deciding on a career in infor-mation science, he pursued a master’sdegree in library science, concentrating inarchival administration, at the Universityof North Carolina. During that period,he returned to THNOC for a secondinternship. Following his graduation in1996, he returned to Louisiana as anarchivist in the special collections divi-sion at Louisiana State University. He moved to Minneapolis in June 1999and now works as an archivist at theUniversity of Minnesota. He finds thework “truly rewarding.” “What could be more important,” he says, “ than pre-serving the true records of what we as asociety do in our daily lives, in our busi-nesses, and in our group activities?”

— Alfred E. Lemmon and Nancy Ruck

Canada, with a noteworthy inset of theterritory between the mouth of theMississippi River and Florida. The mapwill be published in a future THNOCpublication, an historical atlas ofLouisiana. Comte de Rochambeau, thecommander in chief of the French forcesduring the American Revolution, aidedin the preparation of Histoire DesTroubles. Rochambeau kept plans andmaps of fortifications and troop positionsprepared by the French army engineers.An 1,800-item collection of Roch-ambeau’s personal papers and effects areavailable at the Library of Congress.

— Gerald Patout

Adele and EugeneAntoine

Arkansas StateUniversity

Mary Lou BensonJason BerrySarah V. Bohlen, in

memory of Ernest C. Villeré

Borden PublishingCompany

Ethan BradleyDr. Patricia BradyCharles A. BristowLouis C. BristowEric J. BrockRichard and Marina

CampanellaTom CarterMrs. Donald

CharlesChristianity Today,

Inc.Mr. and Mrs.

William K.Christovich

Gerald DayAugusta ElmwoodMarcel Farnet, Jr.Elizabeth Nicholson

FischerRoy FlukingerGaye A. FredericJohn Geiser IIIJames J. JacobsenJackson Avenue

EvangelicalCongregation

Catherine C. KahnJake Hyman

Kleindorf, inmemory of Odile Baltazarand Dale Triche

Mr. and Mrs.Thomas N.Lennox

Louisiana Arts andScience Center

Louisiana Divisionof the Arts

Louisiana LiteraturePress

Bernice ManningBernard J.

Manning, Jr.Bessie Mire

McGhee

Suzanne T.Mestayer

Maury MidloWulf NohringNorthern Indiana

Center forHistory

Oxford UniversityPress

Michael PatrykusDr. Donald A.

PavyPhaidon Press,

Inc.Christopher

Porché-WestMilli Rouse, in

memory ofMildred Cobb Edrington

Mirian S. RuppelEstate of Yvonne

Arnoult RyanSt. Mary Parish

Landmarks,GrevembergHouse Museum

Kendall ShawSisters of St.

Francis of theCongregation ofOur Lady ofLourdes

Charles SnyderJoe SolisEstate of Elise and

Lucille SoniatJerome StedmanAdam StegIrma StieglerRoulhac ToledanoUniversity of New

Orleans, Earl K. LongLibrary

Leo Van WitsenJohn E. WalkerJoseph Seth

WarnerDr. and Mrs.

Thomas E.Weiss

Helen WetzelMrs. H. Hunter

White, Jr.WWL-TVWYES-TVLloyd Young

DONORSJULY–SEPTEMBER 1999

IN THE COMMUNITY

Chuck Patch, elected to a three-yearterm, board of directors of the MuseumComputer Network; Carol Bartels,elected vice-president/president elect ofLouisiana Archives and ManuscriptsAssociation. John H. Lawrence com-pleted the Metropolitan LeadershipForum fall series.

Television appearances: PatriciaBrady and Mary Louise Christovich, AGrave Injustice, WDSU-TV, and thedocumentary produced by THNOC,Queen of the South: New Orleans in the1850s, WYES-TV. Priscilla Lawrence,emcee, WYES Art Auction 12; JohnLawrence and Patricia Brady, televisioninterviews, Queen of the South.

Elsa Schneider, Louisiana historylecture, women attorneys of Milling,Benson, Woodward; Judith Bonner, lec-tures, “Hemingway and War” confer-ence, United States Air Force Academy,Colorado Springs, and Third Saturdaypresentation, THNOC; Pamela D.Arceneaux, slide lecture, history of pros-titution, National Electrical Contractorsand American Society of Hematology;John Lawrence, Louisiana history exhi-bition committee, Inter-AmericanDevelopment Bank, Washington, D.C.;Sue Reyna, volunteer, the libraries atAudubon Zoo.

Siva Blake, Patricia Brady, RobinGoldblum, Amanda Plauché Jones,John Lawrence, Sue Laudeman, MaryMees, Diane Plauché, and Kathy Slimp,volunteers, WYES Art Auction 12.

PUBLICATIONS

Patricia Brady, “Carnival of Liberty:Lafayette in Louisiana,” Louisiana History;Judith Bonner, news column, InsideSEMC, and the New Orleans Art Review;John Lawrence, New Orleans Art Review.Articles in Cultural Vistas, Judith Bonner,John Magill, Mark Cave, Mary LouEichhorn, Patricia Brady, and Siva Blake.

MEETINGS

Chuck Patch, Museum ComputerNetwork, Philadelphia; Judith Bonner andMimi Calhoun, Southeastern MuseumsConference, Birmingham; Judith Bonner,South Centra l Modern LanguageAssociation, Memphis; Patricia Brady,Louisiana Historical Association boardmeeting; Pamela Arceneaux, presentation,Maritime Libraries Group; John Lawrence,Oracle XVIII, Washington, D.C.

CHANGES

Bunny Hinckley has joined thedocent department.

IN MEMORIAM

The Collection mourns the death ofNellie Whisenhunt, who was a volunteerin the manuscripts department duringthe 1980s.

14

Board Member Charles A.Snyder and Sherry Snyder,pictured at the reception forthe current exhibitionQueen of the South: New Orleans in the 1850s

Editors:Patricia Brady

Louise C. Hoffman

Head of Photography:Jan White Brantley

The Historic New Orleans Collection

Quarterly is published by the Historic New

Orleans Collection, which is operated

b y t h e K e m p e r a n d L e i l a Wi l l i a m s

Foundation, a Louisiana nonprofit corpora-

tion. Housed in a complex of historic build-

ings in the French Quarter, facilities are open

to the public, Tuesday through Saturday,

from 10:00 a.m. until 4:30 p.m. Tours of the

history galleries and the residence are avail-

able for a nominal fee.

Board of Directors:Mrs. William K. Christovich, President

John E. WalkerFred M. Smith

Charles A. SnyderMeg Allan

G. Henry Pierson, Jr., emeritus

Priscilla Lawrence, Acting Director

The Historic New Orleans Collection533 Royal Street

New Orleans, Louisiana 70130(504) 523-4662

hnocinfo@hnoc.orgwww.hnoc.org

ISSN 0886-2109 © 2000The Historic New Orleans Collection

Additional photography by:Dustin Booksh and Chelsea Viles

Chuck Patch Carol Bartels

STAFF

AT THE COLLECTION

Bunny Hinckley

MILLENNIUM MARDI GRAS NECKLACE

LIMITED EDITION

Created especially for the museum shop of the Historic New Orleans

Collection, this limited-edition necklace of300 is engraved with the year 2000.

It features three pendants in the colors ofMardi Gras — purple, green and gold. Thestones of hand-crafted, vintage pressed glassare from old molds by master artisans inEurope trained in the style and techniques ofFrench designer, René Lalique. The facetedamethyst-colored heart in open setting withsix fresh-water baroque pearls represents theofficial song of Mardi Gras, “If Ever I Cease toLove,” adopted in 1872. The green intaglio(reverse cameo) of a royal personage is set inan oval frame reminiscent of a popular watchfob design of the 19th century. The fleur-de-lis is cast in red bronze and is symbolic ofLouisiana’s French heritage.

The pendants are assembled on a ringfastened to a 32" chain of red bronzesecured by a stylized bar clasp.

$125.00, plus tax and shipping. Orderby phone (504) 598-7147 or visit our web siteat www.hnoc.org.

15

WATCH THE PAST COME ALIVE

THE DECADE OF THE 1850S WAS A GOLDEN ERA IN NEW ORLEANS — a time of opulent man-sions, grand hotels, riverboats, great fortunes, and elegant society, as well as yellow fever

epidemics and political violence, ending with the capture of the city during the Civil War. Stepback into that dramatic past with a colorful video showcasing period views and new footage ofthe city and its gardens at their most beautiful.

QUEEN OF THE SOUTH: NEW ORLEANS IN THE 1850S includes inter-views with noted historians, architects, and authors and narratedexcerpts from Thomas K. Wharton’s journal. Produced and writtenby Karen Snyder, original music by Sanford Hinderlie, narrated byJohn McConnell. $14.95

ALSO: QUEEN OF THE SOUTH: NEW ORLEANS, 1853-1862, THE

JOURNAL OF THOMAS K. WHARTON tells — and shows through vintage images — the story of daily life in antebellum New Orleans.Essays by Samuel Wilson, Jr., Mary Louise Christovich, and Patricia Brady.Hard-cover book, 320 pages, 200 black and white illustrations and 22 color plates. $39.95

THE 1884 WORLD’S FAIR LED TO A FLOWERING OF CULTURAL LIFE in New Orleans that contin-ued through the 1920s. Two extraordinary brothers — gifted painters and teachers — helpedrevitalize the city as an artistic center, founding the Newcomb Art School and saving historicFrench Quarter buildings from demolition in the process.

BROTHERS IN ART: ELLSWORTH AND WILLIAM WOODWARD AND THEIR

ART IN THE SOUTH is a video rich with images of their luminouspaintings and period video footage, as well as interviews with artists,historians, Woodward students, and collector/donor Laura SimonNelson. Produced and written by Karen Snyder, narrated by LowellHuffman. $14.95

ALSO: COMPLEMENTARY VISIONS OF LOUISIANA ART is a lavishlyillustrated overview of Louisiana art, showcasing the Collection’sextensive art collection and Laura Simon Nelson’s donation of

important 19th- and 20th-century artworks. Interpretive essays by William H. Gerdts, George E. Jordan, and Judith H. Bonner. 96 page book, 80 color

plates. New price: hard-cover, $29.95; soft-cover, $15.95

THE SHOP

Please sendQuantity Title Price Total

Subtotal__________Shipping and Handling__________

Hardback: $4 for first book; $2 each additionalPaperback & video: $2 for first item; $.50 each additionalTaxes as applicable: Tax__________9% Orleans Parish4% other La. Residents

Total Amount Due__________

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THE SHOP AT THE COLLECTION 533 ROYAL STREET, NEW ORLEANS, LA. 70130

(504) 598-7147

ANNUAL TEACELEBRATES

DONORS

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

Joan Brown Laura Simon Nelson

Maclyn Hickey and Priscilla Lawrence

Suzanne Ormond and Patricia BradyAnne Strachan and John Lawrence

A trio of musicians played in the Counting House.

The third annual Leila Williams Tea on December 14 honored

Collection friends who, through theirdonations of materials or volunteer timein 1999, contributed to the museumand its mission to preserve the history ofNew Orleans and the Gulf South.