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The Historic New Orleans VOLUME X X X VI
N U M B ER 4
Collection uarterly FA L L 2 0 19
IND U S TR IAL E VOLUTI ON: Landscapes of the Lower Mississippi
EV ENT C A L ENDA R EXHIBITIONS & TOURS
For more information on any of the following events, please email events@hnoc.org. All exhibitions are free unless otherwise noted.
STOOP STORIES CURRENT
Join Willie Birch, Hannah Chalew, and Krista Jurisich for the final installment of Stoop
Stories. Inspired by the kind of neighborly conversations held on front porches across Art of the City: Postmodern to Post-Katrina,
the city, these informal gallery talks feature artists whose work is on view in Art of the presented by The Helis Foundation
City: Postmodern to Post-Katrina, presented by The Helis Foundation. Through October 6
520 Royal Street
Saturday, September 14, 1–4 p.m.
520 Royal Street Enigmatic Stream: Industrial Landscapes
Free of the Lower Mississippi River
Through April 5, 2020
ENIGMATIC STREAM EXHIBITION OPENING AND 520 Royal Street
BOOK SIGNING
Photographer Richard Sexton will be on hand to sign books as The Collection CONTINUING
celebrates the launch of its latest exhibition.
Tuesday, September 17, 6–8 p.m. French Quarter Galleries
520 Royal Street 520 Royal Street
Free
Education Galleries
VICKSBURG LEC TURE AND BOOK SIGNING 520 Royal Street
Historian Donald L. Miller discusses and signs his new book, Vicksburg: Grant’s
Louisiana History Galleries
Campaign That Broke the Confederacy. This program is presented in collaboration 533 Royal Street
with the National World War II Museum.
Tuesday, October 29, 6–7:30 p.m. Williams Residence Tour
410 Chartres Street Architecture and Courtyard Tour
Free. Reservations required; visit my.hnoc.org or call (504) 598-7146. 533 Royal Street
Tuesday–Saturday, 10 and 11 a.m.,
UNCORKED! A HISTORY OF WINE IN NEW ORLEANS 2 and 3 p.m.
The sixth installment of THNOC’s popular culinary symposium, this year’s event Sunday, 11 a.m., 2 and 3 p.m.
explores the history of importing, serving, and drinking wine in New Orleans. $5 admission; free for THNOC members
Presentations will be followed by a reception and wine tasting. Cheers! Groups of five or more should call
Saturday, November 2, 10 a.m.–2 p.m. (504) 598-7145 to make reservations.
410 Chartres Street Educational tours for school groups are available
$60 admission; $50 for students, teachers, and THNOC members. Registration free of charge; please contact Rachel Gaudry,
required; visit my.hnoc.org or call (504) 598-7146. education coordinator, at (504) 556-7669 or
rachelg@hnoc.org.
THE PHANTOM OF THE OPER A FILM SCREENING
THNOC’s annual Les Comédiens Français lecture series—dedicated to French
UPCOMING
language and culture—returns for its 17th installment with a screening of the 1925
silent classic The Phantom of the Opera. French pianist Pierre Queval will provide Seeking an Open Life: Photographs
live musical accompaniment. of Lafcadio Hearn’s Japan
Tuesday, November 5, 6–8 p.m. October 10, 2019–January 5, 2020
520 Royal Street 410 Chartres Street
$15 admission; $5 for Founder and Merieult members; free for Caillot level and above.
Reservations required; visit my.hnoc.org or call (504) 598-7146. The New Orleans Drawings of Gaston
de Pontalba, 1848–1851
POP -UP HOLIDAY MARKET AND MEMBER APPRECIATION DAY October 29, 2019–February 2, 2020
Shop for the holidays as our newly expanded museum shop hosts a local holiday 520 Royal Street
art market. Members receive 20 percent off all purchases! Crescent City Sport: Stories of Courage
Sunday, December 1, 11 a.m.–4 p.m. and Change
520 Royal Street November 22, 2019–March 8, 2020
Free 520 Royal Street
GENER AL HOURS
520 ROYAL STREET 533 ROYAL STREET 410 CHARTRES STREET
Seignouret-Brulatour Building and Williams Residence and Williams Research Center and
Tricentennial Wing Louisiana History Galleries Boyd Cruise Gallery
Tuesday–Saturday, 9:30 a.m.–4:30 p.m. Tuesday–Saturday, 9:30 a.m.–4:30 p.m. Tuesday–Saturday, 9:30 a.m.–4:30 p.m.
Sunday, 10:30 a.m.–4:30 p.m. Sunday, 10:30 a.m.–4:30 p.m.
ON THE COVER
Fishing in the flooded Bonnet Carré
Spillway with moored tankers in background,
near Norco (detail)
2015
© Richard Sexton
acquisition made possible by the G. Henry
Pierson Jr. Photography Fund, 2015.0364.51
FROM THE PR ESIDENT CONTENTS
When I think about The Historic New Orleans Collection—and that is something O N V I E W / 2
I do a lot—there are two things that always come to mind. The first is the remark- Contemporary photographs summon the
able opportunity this institution has to be an important part of countless lives. spirit of Lafcadio Hearn, 19th-century citizen
The second is the equally remarkable journey this institution has taken since its of the world.
founding. From the personal collection of two preservation-minded individuals, Drawings by Gaston de Pontalba provide
The Collection has grown into a museum, research center, and publisher that is fresh perspectives on the antebellum city
widely recognized as a leader in preserving and interpreting the history and culture and surrounding region.
of New Orleans and the region. The story of the institution’s growth converges A new exhibition and companion book
with the story of its potential in the person of Priscilla Lawrence, whose 21 years of unpack the enigma of industrial progress.
leadership have placed THNOC in the position it is today. Off-Site
Priscilla’s thoughtfulness, patience, generosity, and kindness have been the
enabling forces behind so many successes. The opening of the new exhibition center R E S E A R C H / 10
is the latest and grandest accomplishment, but there are many more achievements A THNOC intern chronicles the evolution of
to chronicle. Under Priscilla’s direction, THNOC restored and renovated several wallpaper design and production.
historic French Quarter properties, built a state-of-the-art collections storage facil-
ity on Conti Street, and acquired a large off-site storage center. Always focused on C O M M U N I T Y / 12
preserving the past for a brighter future, Priscilla supported the expansion of the Recently Retired
education department, which now employs three full-time museum educators, In Memorium
offers an ever-growing online catalog of history curricula for teachers, and oper- Staff News
ates a classroom on Toulouse Street outfitted with up-to-date teaching technologies
On the Job
that can accommodate up to 60 students for on-site museum-learning experiences.
During Priscilla’s tenure, THNOC’s publishing program grew exponentially in its Focus on Philanthropy
great variety of titles, subjects, and types of books, from encyclopedic tomes like Donors
Furnishing Louisiana: Creole and Acadian Furniture, 1735–1835 to biographies of Become a Member
musicians like Ernie K-Doe: The R&B Emperor of New Orleans. And the ever-busy On the Scene
programming schedule has diversified and expanded under Priscilla’s watch, with a
broad range of exhibitions, lectures, performances, and experiences. A C Q U I S I T I O N S / 22
Priscilla’s greatest legacy, though, is the staff of THNOC. Her leadership was the Acquisition Spotlight: A photograph album
crucial tool that this incredible group of dedicated and hardworking professionals showcases the work of the earliest known
needed to build the institution that thrives today. Priscilla has laid the foundation woman to photographically record daily life
for many great things to come in the future. Thank you, Priscilla, for the journey in New Orleans.
and the opportunity! —DANIEL HAMMER Recent Additions
ON V IEW
Distant Relatives
A photography exhibition applies 19th-century perspective to New Orleans’s
sister city of Matsue, Japan.
To mark the 25th anniversary of the sister city relationship between New Orleans and
Matsue, Japan, and the 150th anniversary of the US arrival of renowned 19th-century
journalist and author Lafcadio Hearn, The Historic New Orleans Collection is presenting
A Seeking an Open Life: Photographs of Lafcadio Hearn’s Japan. Opening October 10, at 410
E XHIB ITION Chartres Street, the exhibition features contemporary photographs of Japan’s southwestern
Izumo district, home to the city of Matsue, where Hearn settled when he moved to Japan in
Seeking an Open Life: Photographs of
1890. The artist, Everett Kennedy Brown, is an American who has lived in Japan for more
Lafcadio Hearn’s Japan
than three decades.
410 Chartres Street
Lafcadio Hearn (1850–1904) was born in Greece, raised in Ireland, and educated in
October 10, 2019–January 5, 2020
England. He traveled extensively throughout his adult life and is largely considered a
Free
citizen of the world. But he is most associated with two locales: New Orleans and Japan.
Hearn spent nearly a decade (1877–87) in New Orleans as a journalist with the Daily City
Item and the Times-Democrat, chronicling the city’s Creole culture. When he left New
Orleans, he sojourned for two years in the French West Indies before settling in Japan, a
country he wrote about extensively and called home until his death. The writer initially
resided in Matsue, where he met his wife, Koizumi Setsu. Hearn eventually became a
Japanese citizen, taking the name Koizumi Yakumo. Today, the Lafcadio
A. Horan-Enya Festival participants
2019; collotype print from wet-
collodion glass negative
© Everett Kennedy Brown
B. Shimane Peninsula coastline
2018; collotype print from wet-
collodion glass negative
© Everett Kennedy Brown B
2 The Historic New Orleans Collection Quarterly
D
C E
Hearn Memorial Museum in Matsue, which includes Hearn’s former residence,
celebrates the writer’s life and work in Japan. The museum’s director, Bon Koizumi, is
Hearn’s great-grandson.
Brown’s photographs of landscapes and architecture in Matsue and the surrounding
region are infused with the quiet mystery that first drew Hearn to the area, one steeped
in folkloric culture and mythology. The prints’ physical characteristics and connection
to Hearn are enhanced by two 19th-century processes used to produce the images: wet
collodion and collotype. The wet-collodion process, which is used to create glass nega-
tives, hasn’t been a mainstream technique since the last quarter of the 19th century. The
negatives have the capacity to produce extremely detailed images. The collotype process,
which uses ink rather than darkroom chemistry to form prints from negatives, has all
but vanished from the world of printmaking. The collotype process allows a master
printer a wide range of manipulation in creating each hand-printed image.
Complementing the photographs are three of Hearn’s books on Japan from the C. Local purification ritual on
holdings of The Historic New Orleans Collection: Glimpses of Unfamiliar Japan (1894), Shimane Peninsula
Kokoro: Hints and Echoes of Japanese Inner Life (1898), and Japan: An Attempt at 2018; collotype print from wet-
collodion glass negative
Interpretation (1904). © Everett Kennedy Brown
Seeking an Open Life: Photographs of Lafcadio Hearn’s Japan is presented in collabora-
tion with the Hearn Society of Japan, the City of Matsue, and Shoko Koizumi, project D. Shimane Peninsula pine tree
2018; collotype print from wet-
director of the Open Mind of Lafcadio Hearn Project and coordinator of the Lafcadio collodion glass negative
Hearn Memorial Museum, and in cooperation with the Japan Club of New Orleans © Everett Kennedy Brown
and the Japan Society of New Orleans. Support was provided by the Embassy of Japan
E. Island on Lake Shinji
in the United States and Shimane Prefecture, Japan. Funding was provided by Toshiba
2019; collotype print from wet-
International Foundation and the Japan World Exposition 1970 Commemorative Fund. collodion glass negative
—JOHN H. LAWRENCE © Everett Kennedy Brown
Fall 2019 3
ON V IEW
E XHIB ITION
The New Orleans Drawings of Gaston
de Pontalba, 1848–1851
520 Royal Street
October 29, 2019–February 2, 2020
Free
A
Drawing the City
The artistic legacy of the Baroness de Pontalba’s son is on view this fall.
As a Frenchman of the aristocratic class, Gaston de Pontalba (1821–1875) was well
educated but not expected to work for a living. He earned a law degree in 1846 but never
practiced. He hunted, traveled, read literature, and socialized with family and friends.
Fortunately for New Orleans architecture and history buffs, one of Gaston’s avocations
was drawing. When he visited New Orleans in the mid-19th century, it was with sketch-
books in hand. In some 120 drawings and prints, he visually documented the city and
A. St. Charles Hotel
1848; pencil, watercolor, and gouache surrounding region, while also opening a small window onto the personal life of one of
on paper 19th-century New Orleans’s best-known characters, Micaëla Almonester, Baroness de
by Gaston de Pontalba Pontalba—Gaston’s mother. The works of art, long housed in the Pontalba family château,
courtesy of the Baron de Pontalba
Mont-l’Évêque, near Paris, are showcased in The New Orleans Drawings of Gaston de
B. Cabildo, St. Louis Cathedral, and Pontalba, 1848–1851, opening October 29 at 520 Royal Street.
Presbytère Gaston was the youngest son of the Baroness de Pontalba. He accompanied her to
between October 1848 and February 1849;
New Orleans in 1848, along with his brother Alfred and childhood friend Eugène-Joseph
pencil and watercolor on paper
by Gaston de Pontalba Napoléon Klein. The baroness, who grew up in the city, was returning to manage the
courtesy of the Baron de Pontalba construction of two monumental rows of townhouses on her properties flanking the Place
d’Armes (renamed Jackson Square in 1851).
The Pontalba traveling party departed Paris in February
1848 at the outbreak of revolution in France and made several
stops along their way to New Orleans. They toured the south of
England in the spring and early summer, made their way to New
York by steamer in August, and visited Boston in September.
Throughout the journey, including onboard the ship, Gaston
recorded what he saw: landscapes, cityscapes, and streetscapes;
townspeople and fellow travelers; churches, public buildings,
racetracks, and residences, from the high to the humble.
The Pontalbas arrived in New Orleans in October and stayed
for two and a half years, during which time Gaston created
drawings of Tremé, the American Sector (today’s Central
B Business District), and the French Quarter, capturing not only
4 The Historic New Orleans Collection Quarterlythe Place d’Armes and his mother’s grand buildings, but also some of
the less famous corners of the neighborhood. His oeuvre also includes
extremely rare drawings of two plantations not far from the city, de La
Croix and Derbigny, and depictions of Pascagoula, Mississippi, and
Madisonville, Louisiana, where the Pontalbas lived during the two
yellow fever seasons they spent in the region.
Gaston was a very able draftsman, with a good eye for composition
and an obvious concern for accuracy in depicting the built environ-
ment. Though a few of his drawings have the telltale signs (slightly C
distorted outer edges) that he was utilizing one of the era’s popular
mechanical optical aids, perhaps a camera lucida, the majority of his works seem to have C. Eugène-Joseph Napoléon Klein
been made without such a device. Detailed and insightful, his drawings enrich the visual 1850; pencil, watercolor, and gouache
on paper
documentation of the region, shedding fresh light on the architectural histories of many
by Gaston de Pontalba
buildings. courtesy of the Baron de Pontalba
Gaston did not depict people nearly as often as buildings and landscapes, but when he
did, his friend Klein was his favorite subject. Among the exhibition’s gems is a series of D. Jenny Lind
1851; pencil and watercolor on paper
humorous renderings of Klein during a visit to the country. Another highlight is a portrait by Gaston de Pontalba
of the 19th-century opera star Jenny Lind, who performed in New Orleans at the end of courtesy of Bernard de Pontalba
Gaston’s tenure and stayed in one of the baroness’s newly built townhouses.
E. St. Augustine Catholic Church in
With the completion of the Pontalba buildings, the family departed for France in April Faubourg Tremé
1851 and never returned to New Orleans. Gaston continued to create drawings, watercol- 1849; pencil and watercolor on paper
ors, and sculptures, including functional pieces cast in bronze. A bronze clock he entered by Gaston de Pontalba
courtesy of the Baron de Pontalba
in the 1867 Exposition universelle won a prize. He also produced lithographs in large runs,
suggesting that he may have had the intention of selling them.
The baroness, to whom Gaston was utterly devoted, died in 1874, and his lifelong friend
Klein died the next year. Gaston soon followed. His works were recently rediscovered and
organized by Pierre de Pontalba, son of the current Baron de Pontalba, who has generously
lent them to The Historic New Orleans Collection for this exhibition. —HOWARD MARGOT
D E
Fall 2019 5ON V IEW
E XHIB ITION
Enigmatic Stream: Industrial Landscapes
of the Lower Mississippi River
River Giants
520 Royal Street
Photographer Richard Sexton renders industrial landscapes at human scale in
Enigmatic Stream.
September 17, 2019–April 5, 2020
Free
I first photographed the landscape of the lower Mississippi River in the late 1990s for my
book Vestiges of Grandeur: The Plantations of Louisiana’s River Road. Vestiges focused on the
remains from an era when this section of the river, from Baton Rouge to New Orleans,
was devoted to the production of sugar. Over the last century, this region has witnessed
the growth of the oil and gas industry and petrochemical manufacturing. Today, agricul-
ture and industry present a dissonant chorus along the wide highway of brown, languid
water. I began photographing this linear industrial metropolis in the early 2000s, and that
work is at the center of the exhibition Enigmatic Stream: Industrial Landscapes of the Lower
Mississippi River, which opens September 17 at THNOC and has a companion book.
A. Holy Rosary Cemetery surrounded by Oil refineries and petrochemical plants loom largest here, but there are also power plants,
Union Carbide petrochemical plant, Taft granaries, sugar refineries, bridges, levees, spillways, and more. Some of these sites are as
2015
old now as the principal houses of the plantations were when, in the early 20th century,
© Richard Sexton
acquisition made possible by the G. Henry artists and photographers first romanticized them as relics of a bygone era. Time has only
Pierson Jr. Photography Fund, 2015.0364.53 intensified the myopia that frames plantation life as a pastoral idyll, given that human
A
6 The Historic New Orleans Collection QuarterlyB
slavery was its sustenance, and a comparable burden haunts today’s industrial landscape.
The same plants that drive Louisiana’s economy cannot be disentangled from the conse-
quences of global warming, toxic waste, and society’s unbridled consumption of vital,
nonrenewable natural resources.
The subject proved challenging to photograph, and context was important. I always
tried to include the near bank within the frame to show the width of the river and to
contrast with the primary subject on the opposing bank. The batture is typically a dense
thicket of willows intertwined with low brush and vines, so it was a tedious process
to find spots where the industrial landscape on the opposite bank was visible. I would
also shoot across fields of cane stubble and through bare trees in winter to find vistas to
the structures in the distance. I frequently photographed at twilight, or after nightfall,
because the setting is more mysterious when it’s veiled in darkness. The refineries and NE W FROM THNO C
chemical plants glowed like Orwellian metropolises in the void of the rural night. I Enigmatic Stream: Industrial Landscapes
photographed in every conceivable condition—rain, fog, clear skies, and skies filled with of the Lower Mississippi River
exploding cumulus thunderheads. Nature, unpredictable and transient, contrasted with by Richard Sexton
the relentless, steady toil of industry. The river itself was equally transient, sometimes softcover • 9" x 12.5" • 144 pp.
calm and flowing within its banks, other times at flood stage and raging. 90 black-and-white images
US $40 • UK £30
Many photographers and journalists have focused on this landscape, and their depic-
tions have been emotionally complex—dismay and condemnation intermingling with B. View of Entergy’s Ninemile power plant in
admiration and pride. Few documentations have focused on this landscape as a histori- Westwego, from east bank levee in Carrollton,
cal and evolving one. Few have had enough emotional detachment from the subject New Orleans
2014
to record it in an objective manner. There has been a lack of focus on the technologi-
© Richard Sexton
cal achievements and the engineering prowess of these sites, many of which resemble acquisition made possible by the G. Henry
collaborations between Rube Goldberg and Dr. Frankenstein. The public at large seems Pierson Jr. Photography Fund, 2015.0364.79
Fall 2019 7ON V IEW
C. Cow pasture with fertilizer plant
under construction in background, near
Donaldsonville
2015
© Richard Sexton
acquisition made possible by the G. Henry
Pierson Jr. Photography Fund, 2015.0364.2
D. Support piers for the Huey P. Long
Bridge, from east bank levee in Elmwood
2003
© Richard Sexton
acquisition made possible by the G. Henry
Pierson Jr. Photography Fund, 2015.0364.40
C
as perplexed as the documentarians. We are intellectually aware of heavy industry’s
importance, are in awe of its power, and, at the same time, fear and loathe its existence.
Such is the nature of enigmas.
My life is reliant on this landscape, yet I take it for
granted, as most everyone else does. But I can’t cast
myself as a dispassionate witness. I am intrigued by the
unrelenting human effort to mine the river’s resources in
the face of floods, hurricanes, pestilence, civil war, and
industrial disasters. I am also intrigued by the industrial
design of this landscape, unfettered by aesthetic issues,
artistic aspiration, or pretension—driven purely by func-
tion. In its juxtaposition of elements, the landscape is
filled with incongruity and mystery. Finally, I am always
driven to subjects that are unrecognized, or unappreci-
ated. When we think about American industry, we think
largely in the past tense of the heyday of the steel mills
of Pittsburgh, the auto assembly lines of Detroit, or the
Kodak film and photography manufacturing plants of
Rochester, New York. In the present tense, we think of
the latest high-tech gadgets hailing from California’s
Silicon Valley. Louisiana gets overlooked, even though
the bustling corridor of heavy industry along its lower
river rivals the greatest industrial juggernauts in the
country, past or present.
The human exploitation of a capricious river and its
fertile delta has precipitated an extraordinary industrial
infrastructure, which has formed an equally extraordi-
nary contrast with the rural landscape around it. With
Enigmatic Stream, I have tried, as with all things I photo-
graph, to portray it deliberately, purposefully, eloquently,
and, above all else, honestly. —RICHARD SEXTON
Adapted from the preface to Enigmatic Stream: Industrial
D Landscapes of the Lower Mississippi River (THNOC, 2019)
8 The Historic New Orleans Collection QuarterlyOFF -S ITE
Bidding Farewell to Music Icons
Our quarterly roundup of holdings that have appeared outside The Collection,
either on loan to other institutions or reproduced in noteworthy media projects.
The New Orleans African American Museum
was provided 10 images to reproduce for display
New Orleans music legend Dr. John (Malcolm
at its recently reopened facility on Governor
John Rebennack Jr.) passed away June 6, 2019.
Nicholls Street.
The family of Dr. John was provided 18 photo-
graphs for use during his memorial services.
Eureka Brass Band
ca. 1960
Dr. John by Ralston Crawford
1973; gelatin silver print 1983.151
by Michael P. Smith
© The Historic New Orleans Collection,
2007.0103.4.801 Earnestine Jenkins, professor of art history
and visual culture studies at the University of
Memphis, requested six drawings by 19th-century
artist Alfred Rudolph Waud for her article “Alfred
Waud and the Imaging of Freed People,” to be
published in the Tennessee Historical Quarterly
this fall.
Laura and
Neecie
ca. 1871; pencil
by Alfred
Rudolph Waud
The L. Kemper
and Leila
Moore Williams
Dr. John in Studio (Crawfish Fiesta Session for Dr. John with the Meters (Professor Longhair Founders
Professor Longhair) Fire Benefit) Collection,
1979; gelatin silver print 1974; gelatin silver print 1965.90.288.1
by Michael P. Smith by Michael P. Smith
© The Historic New Orleans Collection, © The Historic New Orleans Collection,
2007.0103.4.845 2007.0103.4.813
Renowned New Orleans
musician, producer, and
arranger Dave Bartholomew
passed away June 23, 2019.
The New York Times published
a photograph of Bartholomew
and Fats Domino from the
Franck-Bertacci Collection with
Bartholomew’s obituary.
Fats Domino and Dave
Bartholomew at Cosimo
Recording Studio
negative, 1957; gelatin silver A family
print, ca. 1995 ca. 1866; pencil and Chinese white
by Franck-Bertacci by Alfred Rudolph Waud
Photographers The L. Kemper and Leila Moore Williams Founders
1994.94.2.2283 Collection, 1965.87 i, ii
Fall 2019 9R ESE ARCH
A
The Writing on the Wall
A decorative arts intern from the master of preservation studies program at Tulane
School of Architecture explores THNOC’s 19th-century wallpaper collection.
In fall 2018 The Historic New Orleans Collection completed the cataloging of its signifi-
cant collection of 19th-century wallpapers. Comprising approximately 200 wallpaper
fragments, partial border rolls, and fragments from bandboxes, the study collection affords
a fascinating glance into the evolution of taste, design, and printing technology experienced
by the wallpaper industry throughout the 19th century in Europe and the United States.
THNOC acquired the majority of the wallpaper in 2015 from the Hermann-Grima and
Gallier Historic Houses, which had amassed the collection in the early 1970s as part of an
effort funded by the Ella West Freeman Foundation to further the study of 19th-century
decorative arts. THNOC built upon the 2015 acquisition with wallpaper discovered in
A. High border of the Jardin d’hiver pattern
1853; block-printed paper
by Jules Desfossé
B. Trellis pattern wallpaper
designed in 1862; block-printed paper
by William Morris
C. Wallpaper fragment with trompe l’oeil
drapery discovered in the Seignouret-Brulatour
Building
ca. 1825; block-printed and flocked paper
by Joseph Dufour et Cie.
B
10 The Historic New Orleans Collection QuarterlyC situ—and carefully removed and preserved—during the exten- sive restoration of the 1816 Seignouret-Brulatour Building. Among the many fragments in the collection are English wallpapers with patterns on gilt-embossed grounds emulating the look of leather, French flocked wallpapers with bands of foliate scrolls, gilded patterns imitating the exquisite architec- tural details of intricate moldings, and vividly rendered blooming bouquets and budding roses in vibrant crimson hues. Of note is a large fragment of the high border of the 1853 Jardin d’hiver scenic pattern by esteemed French wallpaper manufacturer Jules Desfossé. Other highlights include a sizable inventory of William Morris’s distinctive natural pattern designs of the arts and crafts movement and a Gothic revival–style flocked wallpaper designed by A. W. N. Pugin for the Queen’s Robing Room at the Houses of Parliament. Three of the fragments discovered in the Seignouret-Brulatour Building illustrate the taste and appreciation for comfort and status of François Seignouret, the wine merchant and furni- ture maker who had the building constructed for his residence and business. The wallpapers are the work of French wallpaper designer Joseph Dufour, a celebrated artisan in Paris in the early 19th century. By choosing to adorn his walls with Dufour designs, Seignouret expressed his aesthetic sense, but also communicated his social and financial status as a merchant whose business stretched from New Orleans to Bordeaux, France. These historically important wallpapers also allowed THNOC curators to determine the Seignouret family’s use for each room in the residence. In addition to chronicling design trends, human creativity, and soci- etal tastes, the collection traces the evolution of papermaking and wallpaper printing throughout the 19th century. Early in the century, wallpaper was hand painted, stenciled, flocked, or hand printed with carved wooden blocks on handmade sheets of paper glued together to create a roll. The development of seam- less paper and machine-printing technology in the 1830s transformed wallpaper from a handmade luxury to a mass- produced product affordable to a newly emerging middle class. THNOC’s wallpaper collection reflects the industry’s progression with a variety of machine-printed wallpapers, recog- nizable by the thin-bodied pigments used and the visible vertical streaks created by the printing rollers. During the last quarter of the century, the introduction of wood pulp–based paper and new printing technologies rendered wallpaper so affordable that it became the most common form of mural adorn- ment. As the American wallpaper industry grew, patterns were often drawn from the elegant designs of Europe. Inexpensively produced wallpaper became an integral part of 19th-century American popular culture. THNOC continues to expand the wallpaper collection with fragments, often several layers thick, acquired from various historic homes throughout New Orleans. Wallpapers are storytellers—what better way to uncover the past than through ingeniously revealing colored pattern designs. —ISABELLE DISSARD-COOPER
COMMUNITY
RECENTLY RE TIRE D
Parting Words
Priscilla Lawrence, who retired in June after nearly four decades with
The Historic New Orleans Collection, bids farewell.
With 39 years at The Historic New
Orleans behind me, I would like to
express my heartfelt appreciation to all
who have supported this institution for
all these years. Fresh from completing
graduate coursework in the Newcomb
art history program at Tulane University,
I joined the staff of The Collection in
1980 as assistant registrar, eventually
becoming collections manager. The early
days of my employment were enthrall-
ing. Learning the profession of caring
for museum collections was an exciting
pursuit. Few in a museum have as much
active hands-on contact with rare and
precious objects as the registrars. I was
hooked!
When, in 1998, the board of directors
asked if I would serve as acting direc-
tor, I jumped at the chance to share the
ideas for the future that I had accumu-
A
lated along the way, and I was grateful
A . Priscilla O’Reilly joined the staff of The to eventually accept the appointment as executive director. But I never would have done
Collection in 1980 as assistant registrar. so without the knowledge that I was working with extraordinary people, all of whom had
the passion, talent, and expertise to help lead the institution toward a bright future. Their
B. Priscilla Lawrence (right) with John H.
Lawrence and former staffer Susan Cole. commitment to excel-
John was curator of photography when lence and teamwork is
Priscilla began working at THNOC. The two unsurpassed.
married in 1989.
Now, after complet-
ing the development
of our new exhibition
center, our longtime
dream, I am delighted
to back away from the
helm of this still-grow-
ing museum, research
center, and publisher
and commit its future
to our exceptional
B board of directors,
12 The Historic New Orleans Collection QuarterlyC. Lawrence became acting director of The Historic
New Orleans Collection in 1998, executive director in
2000, and president and CEO in 2018.
D. During Lawrence’s tenure, the size of THNOC's
staff—pictured here in March in the Brulatour
courtyard—increased significantly.
E. At Lawrence’s retirement party on June 25, the
Williams Residence courtyard was renamed the
Priscilla Lawrence Courtyard, and a proclamation
from the City of New Orleans commemorated the
occasion.
C
capable new president and CEO Daniel Hammer, and valued staff members—my
colleagues—who now number around 150 (a far cry from the 30 or so when I started).
I thank all of you. My thanks also go to our donors—monetary supporters, givers of
objects and collections, and volunteers of precious time. And thank you to those who
support The Collection by visiting the exhibitions, attending programs, shopping
in The Shop, using the collections for research, and reading the Quarterly and other
publications. I look forward to joining you in these roles. ALL of you have my undying
admiration and gratitude! —PRISCILLA LAWRENCE
E
D
Fall 2019 13COMMUNITY
A
A. Harrell (left) in a Just Steppin’ second IN MEMORIAM
Johnnie Harrell
line parade
December 15, 1991
by Michael P. Smith
© The Historic New Orleans Collection, It is with heavy hearts that the staff the ins and outs of the buildings and how
2007.0103.1
members of The Historic New Orleans to take care of them the right way,” said
B. Harrell dances in the 533 Royal Street Collection mourn the loss of Johnnie colleague Norris Grimes. “Johnnie was the
courtyard during a 2004 reception. Harrell, who passed away on May 10, heart of the maintenance department.”
2019, at the age of 80. Harrell came out of His expertise regarding THNOC proper-
retirement to join the maintenance team ties and his concern for their care were
in September 2002 and quickly became unparalleled. According to Tyler Jones, facil-
a leader in the department and across the ities technician, the regular response to any
institution. He will long be remembered for building-related question was “Ask Johnnie.”
his smile, joyful personality, sense of humor, Harrell’s direct communication style, always
impeccable dress, dependability, and dedica- mixed with a little humor, was valued by all.
tion to his work, his family, his church “I liked his straightforward, no-nonsense
community—and the Saints. approach,” said Grimes. When Harrell was
“Johnnie was a people person,” said training a new staff member on the end-
Geneva Brice, another longtime member of of-day closing procedures, he would often
the maintenance staff. “There wasn’t anyone leave a door unlocked or a light on to test the
that he didn’t get along with.” Mentored trainee. “Johnnie was so meticulous in every
by Larry Falgoust, The Collection’s master aspect of his life, from the way he dressed
carpenter who retired in 2013, to the manner in which he approached day-
Harrell became a font of insti- to-day tasks,” said Kathy Slimp Liebaert,
tutional knowledge, which he manager of administrative services.
readily tapped in training new Born and raised in New Orleans, Harrell
members of the maintenance was a graduate of Booker T. Washington
team. “I knew that Johnnie High School and studied at Xavier
would be a role model for University of Louisiana. He worked for
the younger members of the 30 years at the printing company Century
department,” said Joan Holmes, Graphics. A devoted Baptist, Harrell tire-
maintenance supervisor and a lessly served his church, the First African
close friend of Harrell’s, who Baptist Church, as chairman of the trustee
recommended him for the board and as an active member of the
B position. “Johnnie taught me choir. Harrell’s powerful baritone voice
14 The Historic New Orleans Collection QuarterlyS TAFF NE WS LoPresti Scholarly Publication Award from of education, presented “Grab a Brush!
the Art Libraries Society of North America Collaborative Painting in Sensory-Friendly
Changes (ARLIS/NA), given for excellence in art Programming” at the inaugural Museum
Daniel Hammer is now president and CEO. publication. Innovation Forum held in New Orleans
Bentley James is now security dispatcher. Art of the City: Postmodern to Post-Katrina, in May.
Leidy Lemoine, manuscripts cataloger, left presented by The Helis Foundation, received
The Collection in June to pursue a degree in two awards from the 2019 Southeastern Publications
nursing. Lauren Noel, marketing associ- Museums Conference Publications Alfred E. Lemmon, director of the Williams
ate, left The Collection in July for a new Competition. The exhibition campaign was Research Center, published two articles in
position at the Louisiana Endowment for awarded a gold medal in the Campaign La Nouvelle-Orleans, 1718–2018 (Paris:
the Humanities. Cora Noorda, executive category. The exhibition brochure received Academie des sciences d’outre-mer, 2019).
assistant, retired in April. an honorable mention in the Gallery Guides
category. AAM Annual Meeting Learning
New Staff Excursions
Maria Degtiarenko, photography assistant. In the Community In May, New Orleans hosted the 2019
Morgan Dowdy and Madison Hazen, visi- Pamela D. Arceneaux attended the 30th American Alliance of Museums (AAM)
tor services assistants. Charlotte Jarreau, annual Natchez Literary and Cinema annual meeting. Daniel Hammer served
executive assistant. Keionna Jordan, Celebration, where she presented a lecture as co-chair of the Learning Excursions
Cornell Rucker, and Anthony Styles, main- on Guidebooks to committee. He was assisted in this capacity
tenance assistants. Sin. In addition, by Amanda McFillen, associate director of
Brandon Gautier, Angela Larson, Arceneaux makes a museum programs, and Elizabeth Ogden,
Jenna Lloyd, Michael Mae, John Shields, fanciful appearance special projects coordinator. Together,
Lauren Tarentino, and Alexandra Tighe, in the 2018 children’s they spearheaded an effort to broaden and
volunteers. book The Mermaids of diversify the pool of organizations offering
Emily Buttitta (Tulane University) and New Orleans, by Sally excursions. Their outreach resulted in nearly
Timia Webb (KIPP Renaissance High Asher and Melissa 30 excursions in the city and surrounding
School), summer interns in the education Vandiver. One of region, including three at THNOC. Curator
department. Erica Halpern (University of many local figures depicted, Arceneaux’s Eric Seiferth, Head of Visitor Services Lori
Illinois), spring/summer intern in records mermaid rides a streetcar reading—what Boyer, and Curator of Education Jenny
management. Andrew Cerise (Tulane else—a Storyville blue book. Schwartzberg organized these sessions, with
University) and Sirine Dutot (École du Editor Molly Reid Cleaver presented her the support of Lindsey Barnes, Malinda
Louvre), summer interns in the curatorial master’s thesis on the storytelling of Danny Blevins, Mary M. Garsaud, Rachel Gaudry,
department. Barker at two events, January’s Danny Andy Forester, Jennifer Ghabrial, Dale
Barker Banjo and Guitar Festival and the Gunnoe, John H. Lawrence, Alfred E.
Awards annual conference of the International Lemmon, Kendric Perkins, and Anne
Guidebooks to Sin: The Blue Books of Association for the Study of Popular Music, Robichaux. Additionally, Ogden vetted
Storyville, New Orleans, by Senior Librarian / held in New Orleans in March. applicants for AAM’s newly established local
Rare Books Curator Pamela D. Arceneaux, Rachel Gaudry, education coordina- scholarship for emerging museum profession-
received the 34th annual Mary Ellen tor, and Jenny Schwartzberg, curator als and museum-focused students.
was adored by the congregation—and house in Hollygrove to Hurricane Katrina banter. “And he loved his Saints,” said
by those THNOC colleagues who were and eventually resettled in LaPlace, Slimp Liebaert. “He always came dressed
lucky enough to hear him sing. Harrell approximately 30 miles west of New in Saints gear on the Fridays before games.”
was also a member of several second line Orleans. He commuted daily on Airline His warm spirit and concern for others
clubs throughout his life, including Young Highway, never by interstate, and was touched many lives. “Johnnie was a kind,
Men Olympian Jr., the Jolly Bunch, the always the first to arrive at The Collection loving person,” said Brice. “He was so
Social Steppers, and Just Steppin’. “Johnnie each morning, around 6 a.m. easy to talk to. He always made you feel
loved jazz,” said Holmes. As neighbors “Johnnie was always smiling, always comfortable.”
in Hollygrove, Holmes and Harrell and laughing. He could find humor in all kinds Harrell is survived by his wife of 29 years,
their spouses would regularly go to Club of things,” said Slimp Liebaert. Chiding two daughters—Marie Williams and Denise
Gemini on Sunday afternoons to hear jazz. colleagues with nicknames he assigned Brasley—two grandchildren, and six great-
Harrell and his wife, Adrienne, lost their them, Harrell loved to engage in playful grandchildren. —MARY M. GARSAUD
Fall 2019 15COMMUNITY
ON THE JO B
Rachel Gaudry
POSITION: Education coordinator, on staff since 2018
ASSIGNMENT: Use visual art to engage students with history
Museums can be challenging places for Caillot, a young man who came to
young visitors. There are many rules, Louisiana in 1729 to serve as a clerk for
things that can’t be touched, and people the French Company of the Indies. After
and events that seem so long ago. As returning to France in 1731, he docu-
education coordinator, my role is to create mented his experiences in a book-length
bridges connecting students to our exhibi- manuscript, which THNOC acquired in
tions and collections. For each field trip 2004. His fascination with local fauna is
group that visits THNOC, I try to design evident in his watercolor illustrations and
experiences that are informative, memo- vivid descriptions of unfamiliar creatures
rable, and—most important—personal. To such as jellyfish, opossums, and skunks.
do this, I infuse history with art. After introducing Caillot, I love to read
My background as a visual artist greatly his animal descriptions and ask students to
influences how I approach informal educa- draw what they think he is describing. It’s a
tion. I recently developed a program that great deal of fun! Most importantly, it helps
explores the Chitimacha tribe of Louisiana them connect with a young man who lived
and the importance of oral tradition. After in New Orleans nearly 300 years ago.
presenting the culture and history of the
Chitimacha, I read aloud “The Legend
of Bayou Teche,” an ancient tribal story.
The legend, which features an epic battle
between an enormous venomous snake and
brave Chitimacha warriors, provides an
origin story for the Bayou Teche waterway.
Students are then invited to draw their
interpretation of the legend. Through their
A
A. Chitimacha warriors battle an enormous illustrations, they demonstrate their under-
snake in one student’s interpretation of “The standing of the story and share their unique In addition to student field trips, the
Legend of Bayou Teche.”
perspectives. education department develops programs
B. Participants in the sensory-friendly family day My favorite art activity to do with for family groups and individuals with
paint a portrait of jazz legend Danny Barker. students is connected to Marc-Antoine sensory needs. At our inaugural sensory-
friendly family day, cohosted with
Preservation Hall, I designed a large paint-
by-numbers portrait of jazz musician Danny
Barker. Guests came together to complete
the portrait, creating a dynamic, collabora-
tive work of art that celebrates a jazz legend
as well as the artistic talents of the event
participants.
Visual art is a powerful tool for young
visitors, allowing them a space to use their
imaginations and contribute their perspec-
tives on historical events. By offering artistic
opportunities, I hope to help students see
themselves in the narratives we share at
THNOC and build a lifelong appreciation
of museums as places to explore, learn, and
B create. —RACHEL GAUDRY
16 The Historic New Orleans Collection Quarterlyby Joseph Santini, an Italian immigrant who
served as the bartender at the St. Charles
Hotel for many years. In its decor and cock-
tail menu, Jewel of the South harks back to
the golden age of bars in New Orleans, the
1850s and ’60s, which is earlier than the
national golden age, the 1880s. “I’ve visited
The Collection’s Williams Research Center
when researching restaurant concepts,” said
Detrich. “The holdings are a treasure trove.”
Two history buffs with entrepreneur-
ial spirits, Detrich and Benson met in
2010—at a bar, of course. For their first
date they attended a vegan food festival,
as they were both vegans throughout
their early adulthood. “About two weeks
before our wedding, I started eating meat
again,” said Detrich. The couple married
in 2011 and resided for several years in the
French Quarter. Although they now live in
Algiers Point, they remain devoted to the
city’s original neighborhood. Benson and
FO CUS ON PHIL ANTHROPY Detrich recently participated in the opening
Kate Benson and Nick Detrich festivities for The Collection’s new exhibi-
tion center, as both attendees and food and
“The French Quarter is one of the best donation. “I had always really enjoyed visit- drink purveyors. “The exhibitions in the
neighborhoods in the nation. It needs ing The Collection, and when I finally had new center are among the most impressive
stewards to keep it functioning as a neigh- the means to support a nonprofit, I selected exhibitions I’ve seen in New Orleans,” said
borhood, which is when it’s at its best,” said The Collection,” said Benson. After several Detrich. “I was blown away by the French
Nick Detrich. This sentiment compelled years in the field of nonprofit finance, she Quarter Galleries,” said Benson. “The
the renowned bartender and restaurateur to is now working on opening a small wine Collection is a very thoughtful organiza-
select the French Quarter as the home for shop specializing in natural wines and wines tion operated by a vibrant group of people.
his two new restaurant/bars, Manolito and made by women or from companies run by It’s clear that much effort goes into making
Jewel of the South, and provided an impe- women. sure that things are done right.” —MARY M.
tus for Detrich and his wife, Kate Benson, Detrich grew up near Bloomington, GARSAUD
to become supporters of The Historic New Indiana, and studied English at Indiana
Orleans Collection. Detrich and Benson University. After college, he lived in a
are charter members of The Collection’s collective art gallery and worked as an
Caillot Circle, a membership group for independent show promoter, booking tour-
young professionals, and they’ve generously ing bands for different clubs nationally and
provided specialty cocktails for Caillot internationally—a career that prepared him
Circle events and other THNOC events as for his current endeavors. “Booking shows
well. “As members of this new group, it’s is very much about curating an experience,
been fun navigating what people are inter- as is opening a restaurant,” said Detrich.
ested in and what is going to resonate with Drawn to bartending by his love of stories
other young professionals,” said Benson. and storytelling, he designed Manolito
“We feel a part of the future of The Historic to honor traditional Cuban bartenders,
New Orleans Collection.” cantineros. “The style of bartending in
A Dallas native, Benson earned a Cuba is texture and process driven rather
master’s degree in history from Tulane than results driven, as in bars in the United
University—and when she secured her first States,” said Detrich. Jewel of the South,
job after school, she knew exactly which meanwhile, is named after a mid-19th-cen-
arts organization would receive her first tury establishment on Gravier Street opened
Fall 2019 17COMMUNITY
Mary L. Dougherty and Craig Bill Grady
W. Murray Della Graham
Judith and Jeffrey Doussan Rob Grier
Elizabeth Downing Ashley G. Griffon
Margaret M. Dziedzic and Emma Gross
James Marunowski Joan Guccione
Dr. Jay D. Edwards Amy L. and Jeff Gui
D ONOR S Gary Eldredge Kim and George Haddow
April–June 2019
Mr. and Mrs. Stanley E. Thomas George Halko
Ellington Jr.
Tonja Hall
Candyce T. Eoff and Richard D.
The Historic New Orleans Collection is honored to recognize and Kelly Herb Hamilton
thank the following individuals and organizations for their financial Estate of Mary Louise Dr. William and Suzanne
Christovich Hammel
and material donations. Melanie Hanley
Patricia Everton
Sonny Faggart Mr. and Mrs. Harry S.
Pat and Fred Smith, whose Benay Bernstein Mr. and Mrs. Judson R. Chase Hardin III
generous donation helped Crystal Berry Dr. Ina J. Fandrich
Edmund H. Christy Julie M. Hardin and Gabrielle
to initiate our capital Jenny and Danny Bess Jeffrey Faughnan and Bill Lafon
Sarah Churney Rosenbaum
campaign Mr. and Mrs. Sydney J. Kathy Harrell
Rosemary Ciaccio Blaire Fernandez and Mike
Besthoff III Odom B. Heebe Jr.
Kathryn A. Clark and Daniel J. Katz
Eugenia Foster Adams Alvin Y. Bethard Rich Sheila Ferran Nita Hemeter
Libby and Mark Adams Drew Bevolo Loretta Capdevielle Clark Natalie Fielding Polly and Dan Henderson
Patrick M. Ahern Lila and Ernest B. Beyer Stephen W. Clayton Tim L. Fields Maclyn Le Bourgeois Hickey
Chris Alderman BH Purge 2 LLC Joanne and Dick Cole Sevilla W. Finley Earl J. Higgins
Dr. G. Jerome and Linda F. Dr. and Mrs. Henry J. Janie and Chet Coles Marlive E. Fitzpatrick Dodge Hobson and H. Ivens
Alesi Bienert Jr.
Colloqate Design Robinson
Robyn Andermann and Lance Eric R. Bissel Carol and Mike Fitzwilliam
Blanche M. Comiskey Cindy Hogan
Paddock Helen Flammer and Raúl Fonte
Black Gold Legacy April Holthaus
AOS Interior Environments Janet D. Conover Charlotte Fontenot
Lydia Blackmore Mr. and Mrs. Arthur
Dr. and Mrs. Robert L. Elizabeth and Lynton G. Cook Danny Ford
Rosalind Blackstar Holzheimer
Applebaum Melissa Perrett Cook Mr. and Mrs. William H.
Foster Blair Robert F. Hopper
Mrs. Paul L. Arceneaux Avery Corenswet Forman Jr.
Casimier J. Blanda Kevin Horne
Judith Arnette Shirley Trusty Corey Sarah A. and Richard W.
Renee Dent Blankenship Freeman Jr. Susan K. Hoskins
Barbara Arras Julie and Roger Cornwell
Jessica and Wilson Blum Fran Friedman Alvin Hotard
Sally Asher Phyllis Lawton Cosentino
Dr. and Mrs. Thomas Mr. and Mrs. Richard S. Terry Hunt and Dick Molpus
Asociación Bernardo de Christine Costley
Bonner Jr. Friedman Rob Hunter
Gálvez, Málaga Mark Cotten
Isabelle and Lester Bourg Cynthia and Dominique Jean S. Hyman
Laura Avery Jessica Cristina
Leslie Lambour Bouterie Frizzell Iberdrola
Tiki L. Axelrod Angela Crowder
Dr. Regina and Randall Bracy Dr. Phillip F. Fuselier and Elizabeth C. Ingram
Clinton I. Bagley Rita Curry-Pittman
Mrs. Philip Breitmeyer II Anthony Terranova Amy A. Jacobs
Carolyn Bain Kari Dahl
The Honorable Peter Scott Jackson R. Galloway Elizabeth Ogden Janke
Judy Bajoie W. Page Dame III
Bridges and Mary Jane Jacqueline F. Gamble Julie and Drew Jardine
Craig Ball Bridges Danbury Railway Museum
Anne M. and Richard Garrett Nadejda D. Jenkins
Sue Ann Balmer Margaret Brown Dr. Anna Davis
Dr. Gavin M. Gassen Rosalind Jenkins and Peter A.
Beverly W. Barker and John B. Gay B. Browning Jan E. Davis
McNamara Mitchell Gaudet Wilson Jr.
Patrick M. Burke Linda Dawson
Björn Bärnheim Lisa and Charles Gelé Jenny Johnson Family
Mr. and Mrs. Frank Burnside Kathleen de Armas Foundation Inc.
William Barry Jr. Tabatha George and Charlie
Cynthia F. and Edward C. Bush The Decorative Arts Trust Marts Beverly Guidry Jiménez
Mary and Harold Dr. Richard Deichmann
Amelia M. and Neil C. Cagle Mr. and Mrs. John T. Gibbs Jean Johnson and Chip DeWitt
Bartholomew
Cahn Family Foundation Inc. De Lamaze family Shirley and Allen “A. J.” Gibbs Jenny Johnson and Susanne
Laura Butler Bayon and Lucile
Leslie and William Capo Gary G. de Leaumont Ann and George Dale Gibson Scovern
Bayon Hume
Marian F. Cardinale Pat Dennehey Jan Gilbert and Kevin Esther H. Jordan
Laura Butler Bayon, Lucile
Bayon Hume, and Colleen and Randy Carmichael Sandy and Hayden S. Dent McCaffrey Vaughn M. Jordan
Ormonde Butler Landry Diane Laizer Carney Suellen de Russy Dr. Henry Wade Giles Jr. JPMorgan Chase and Company
Aimée and Michael Bell Suzanne Carper Maureen Reed Detweiler Madeline R. and Clave E. Gill Jeanne and Mark Juneau
Dianne Bellas Margaret and James D. Diana Helis Henry and Dr. Janet Gillard and Mark H. Krista Jurisich
Jack Belsom Carriere Adrienne Helis Malvin Ellis Dr. Margie Kahn and David
Annamarie and David Carroll Art Funds of The Helis Michael Godzinski Graham
Emanuel V. Benjamin III
Foundation
Patricia Benoit Karen N. Carroll Lucille M. Golden Courtney M. Kane
Carlisa Dicosola
Myrna B. Bergeron J. Donald Celentano Cindy L. Gomez John R. Kattengell
Suzanne DiMaggio
Mr. and Mrs. Stephen J. Rodolphe Chamonal Lori and Philip Gordillo Keil’s Antiques Inc.
Isabelle Dissard-Cooper
Bernard Lindsay Chapman Elizabeth H. Killeen
Ronald Domin
18 The Historic New Orleans Collection QuarterlyTimothy P. Killeen Melissa M. Martin Mary Cleland Owen and C. B. Karen and Lawrence Ruth Dr. Henry K. and Audrey G.
Marla Knutson and Chadwick Mr. and Mrs. Charles B. Owen Barbara and Harold Ryan Threefoot
Pellerin Mayer Mimi Owens Nancy and Allan Ryan Cecile C. Torbergsen and Bob
Marilyn Kopan James A. McAlister Duane Page Alison Samuel Hayes
Laurie Kracum Timothy McCann Arthur Paine Sylvaine and Thomas A. William Tracy
Louis Kreihs Sabrina A. McCarthy Councilmember Kristin Sancton Tracy Treadaway
Carolyn Kuehling and Darlene Eugenie and Edward J. Gisleson Palmer Dr. C. Drew Sanders Dr. Robert E. and Carolyn
Walk McCloskey Mary Jane Parker Janet Sanders and Richard Wanek Treuting
Jeff Kuehny Celia and Colin L. McCormick Martha and David Parnel Dupont Donna D. Trosclair
Catherine and William Ellen McElouff and Eric Mr. and Mrs. Charles Parsons Brian Sands Wade Trosclair
Kuhlman Overmyer Phyllis B. Parun Courtney-Anne Sarpy Eugenia Uhl
Beatrijs Kuyck-Hechtermans Adrienne K. and Louis W. Patrick F. Taylor Foundation Linda J. and John R. Sarpy United States National Park
Patti and David M. Kyle McFaul Gay Rivet Pearson Frederic S. Sater Service, Denver Service
Lisa Labo Thomas A. McGaw Center
Judith Peck Michelle Sauque
Jenny and Barry L. LaCour Mr. and Mrs. Thomas C. Neti Vaandrager
Judy D. and Sidney L. Pellissier Pat and Joel Schexnayder
Lane LaCoy McGehee W. W. van Benthuysen Jr.
Frank Perez Mimi and Claude Schlesinger
Missy Lacroix Rebecca McGilvray Cheryl Verlander and Chuck
Carolyn and Rob Peterson Edmond Schmidt
Deborah and Michael McKee Bracht
Sarah Landrum and Marshall Sara Pfaff Catherine Banos Schneider
Hevron Jane McKee Mr. and Mrs. E. Wade Walk
Miki Pfeffer Kenneth Schneider
Mr. and Mrs. G. Charles Candace McKenna David Walker
Mrs. Ben J. Phillips School of Design
“Chuck” Lapeyre Dr. Robert E. McWhirter Dolores J. Walker
Dr. Karoly G. and Judy Pinter Florence and Richard
James M. Lapeyre Jr. Catherine and Louis Médal Mr. and Mrs. Borden Wallace
Marcy L. Planer Schornstein
Robert S. Lapeyre Kathleen A. Medina Mr. and Mrs. Joseph Ward
Darlette A. and William S. David Schulingkamp
Dr. Margot C. LaPointe and R. Sr. Rosemary Meiman Glennis Waterman
Powell Lauren Senie
Roger Zauel Ginger Borah Meislahn Dr. Bob M. Watzke
Suzette and Ted Prechter Pat Senkar
Angela Larson Virginia Borah Meislahn William C. Wells
Dr. Michael and Karen Puente Jane and Edward Shambra
Brandee R. Lasuzzo Tania and John Messina Elfriede Westbrook
Evelyn Pugh and Richard Dr. Alan E. and Joan Sheen
Farrell C. Latour Carl Meyer Thompson Justin Westbrook
Cathy Sherburne
Mrs. and Mr. John H. Richard Meyers Nita Putnam Nora Wetzel
Lawrence Laurie Sherrod
Catherine N. and Ira J. Malik Rahim Sarah Whicker
Mrs. Mark F. Lawrence Lindy and Jon Silverman
Middleberg Heidi Raines Brooke Jamieson White
Dr. Barry J. Leader and Anita Silvernail and Lawell
Donald K. Midkiff Brooke Randolph Haug Nancy White
Charlotte Estopinal Alice Miller Adrienne Mouledoux Rasmus Kate Simister Walter H. White III
Christine R. and V. Price Diana Monteleone and Ronald C. Rasmus Norma and Bob Simms Catherine A. Whitney
LeBlanc Jr.
Colleen C. Moore Marianne and Eugene L. Ray Diana Smith Jimmie C. Wickham
Cynthia and Robert LeBreton
Cynthia D. Morris and Anne Raymond Gayle B. and John Rogers Elizabeth and Albert Wiebelt
Mr. and Mrs. James Lee Thomas R. Klei Malynnda and Michael Read Smith Dr. Terri Wilkinson
Lili LeGardeur Moss Antiques Inc. Deborah M. Rebuck Howard Philips Smith William L. Kohlmann Family
Alfred E. Lemmon Patricia Murphy and Mark Alice Reese Janet Barnwell Smith Fund
Ellen Lentini Cave
Rick Reiners and Ralph Ruder Leslie and Jerome G. Smith Jeanne L. Williams
Lightner Museum Dr. M. Bert and Joel G. Myers
Robert Remer Linda T. Smith Annie and Matthew Wilson
Carol and Eddie Lirette Mechelle J. Naclerio
Becky Retz Olga and James B. Smoak Jeanne Wilson
Carolyn Long Betsy Nalty and Dick
Dr. Frederick and Suzanne Cassandra Snyder Dr. James M. Winford Jr.
Rogelio Lopez Simmons
Rhodes Sandy Songy Catherine Winkler
Dr. Rene A. and Gail Hester Margaret Nead
Laurie Rials Angela and Jacques Soulas Amanda Winstead
Louapre III Dr. Mary Ann Neeley and
Sally E. Richards Kathleen Speck Mr. and Mrs. Guy V. Winstead
Kim M. Loubat and Jeanette Shaw
Christopher J. Shepperson Macon C. Riddle Jeanne Stacy Dr. and Mrs. William J.
Constance and Brian Nelson
Dr. William H. Robichaux Woessner
Judith and Marc Loudon Dr. Elise L. Nester E. Alexandra Stafford and
C. W. Toto Robinson Raymond M. Rathlé Jr. Nancy G. Wogan
Louise H. Moffett Family Cynthia and Howard Nobles
Foundation Peter Rogers Howard C. Stanley Dr. James H. Wolfe
Victoria B. Normand
Davis Loupe Ellen and Randy Rosenberg Richard B. Stephens Sara and Allan Woodard
Mr. and Mrs. Robert Weston
Dr. J. Bruce Lowe Kimberly W. and Harry A. Richard Stewart Warren J. Woods
Nuzum
Mr. and Mrs. John A. Lynott Rosenberg Dr. Michael A. and Karen W. Leslie and Kent Woynowski
Mina J. and Ernest L.
Sue Ellen Lyons O’Bannon Edith L. and Paul S. Sullivan Marnie Woynowski
James Magidson Mary Lou and Michael R. Rosenblum Don Taylor David Young
John T. Magill O’Keefe III Dr. Marianne and Sheldon L. Team Gleason Anton N. Zanki
Dr. Joseph F. O’Neil Rosenzweig W. Howard Thompson Victor D. Ziminsky III
Drs. Jamie M. Manders and
James M. Riopelle Mr. and Mrs. James E. Orth Bill Ross Carol D. and James W.
Diana and Chip Mann Carol S. and Richard Osborne Virginia Dare Rufin Thornton
Roma and Barlow Mann Mary Beth Oubre Mrs. Ronald S. Ruiz Doug Thornton
Vera Marse Shyrlene and Michael Oubre Marilyn S. Rusovich
Dr. Kimball P. Marshall
Fall 2019 19You can also read
