the compass r se

R SEThe Compass

Special CollectionsThe University of Texasat Arlington Libraries

Vol. XIX • No. 2 • Fall 2005

A

A New Dimension—The Photography of Cirrus Bonneau and Ana BeaulacBY BRENDA S. MCCLURKIN

dramatic new dimension—documentary photography—was

added to the UTA Libraries SpecialCollections recently with the arrival of thework of Cirrus Bonneau and his wife, AnaBeaulac. Over the years, Special Collec-tions has acquired significant holdings ofphotographic materials. This respectedarchives, representing historical, aerial, andcommercial genres, now numbers almostfour million images and includes suchholdings as the Fort Worth Star-TelegramPhotograph Collection; the W.D. Smith,Inc., Commercial Photography Collection;the Jack White Photograph Collection; theBasil Clemons Photograph Collection; andthe Squire Haskins Photography, Inc.,Collection.

Cirrus Bonneau was born inVancouver, Washington, on January 10,1948. He terms his early life “uneventful,”but says he lived a “wild life” as a teenager.After high school, he studied graphic artsfor two years and then spent two years inthe Navy. It was during those Navy yearsthat Cirrus explored his creative side, first

learning to play blues harmonica, thendeveloping an interest in photography,particularly the work of Walker Evans andEdward Weston. He did not understandwhy these photographers employed the

use of large format cameras and wonderedwhy his 35mm camera was not capturingsimilar results. While at Oregon StateUniversity studying horticulture, Cirrustook a photography class under HarrisonBranch. There he learned about viewcameras and the secrets of printing andmaking beautiful prints. He sold some ofhis 35mm equipment in favor of a 4x5view camera. Within a year, he hadreplaced it with an 8x10 view camera.

Cirrus found his way to Texas where hebegan to work as a photographer, purchas-ing an 8x10 Deardorf camera, one that hewould use for most of his work. His firstproject was for the museum at NorthTexas State University in Denton. Workingunder a National Endowment for theHumanities grant, Cirrus traveled the statephotographing log cabins for an exhibitand associated book called Dog Trots andMud Cats. Another major project was a1981 exhibition, entitled Panther CityRomance, prepared for the Fort Worth

Continued on page 4

Hillsboro Cemetery, Hill County, Texas, 1983. “Life and death are personal and old country cemeteries are personal…” Photograph by Cirrus Bonneau.

Cirrus Bonneau and Ana Beaulac:a recent self-portrait.

he recent retirement of Kit Goodwinleads our news. On August 24, 2005,

we celebrated Kit’s 18-year tenure inSpecial Collections with a retirement partyin the Central Library Parlor. Foremostamong the guests were Mr. and Mrs.Jenkins Garrett and their daughter, DonnaGarrett, and Kit’s husband, Reuel Jentgen,and daughter, Melissa Goodwin Fetch. Kit’slast official day, August 31st, culminatedwith a dinner held in her honor by herSpecial Collections colleagues.

We had known for some time that Kitwas planning to retire. I reminded her earlyand often that the day would be upon usbefore we knew it, but it nevertheless cametoo soon. She worked hard to wrap upprojects in advance of her departure andaccomplished an impressive amount.Eighteen years is a long time to accumulatethings and she didn’t quite clear up all of

2 • The Compass Rose • Fall 2005

The Compass Rose is published semi-annually by

Special Collections, The University of Texas

at Arlington Libraries, Box 19497, Arlington, Texas

76019-0497. ISSN 1065-9218

Special Collections and other staff members

who helped produce this issue are:

Ann Hodges (editor), Evelyn Barker, Maggie

Dwyer, Katherine Goodwin, Brenda McClurkin,

Gerald D. Saxon, Cathy Spitzenberger, Gary Spurr,

and Betty Wood.

The purpose of The Compass Rose is to raise

awareness of Special Collections' resources

and to foster the use of these resources. The

newsletter also reports significant new programs,

initiatives, and acquisitions of Special Collections.

A compass rose is a circle graduatedto degrees of quarter points andprinted on a chart or map for reference.

T

Update

from the

Coordinator

BY ANN E. HODGES

Special Collections hours are 9 am to 7 pm onMonday and 9 am to 5 pm Tuesday - Saturday.For special hours during intersession andholidays, see http://library.uta.edu/about/locations.jsp#spco

them, but she made a heroic effort—onethat we all appreciate, even those of uswho “inherited” what remained. Over thepast year we had begun to prepare for herretirement by distributing some of herresponsibilities to other staff members. Itcertainly was interesting to me to observe,as the date grew nearer, how quicklysomeone who prefers to take responsibilityfor things can learn to let go! All kiddingaside, I have a deep and personal apprecia-tion for Kit’s professionalism and dedica-tion to her work and for the exceptionalworking relationship she and I enjoyed.

Our last major acquisition of the yearwas made in Kit’s honor with the purchasefrom Michael Heaston of Charles W.Pressler and A. B. Langermann’s PocketMap of the State of Texas Reduced fromtheir Original Map of the State, publishedin 1879 in New York by the AmericanPhoto-Litho. Co. The map is especiallysignificant to Kit because it was the onlyPressler map absent from our holdings.Other newsworthy additions include twomaps found in a single day, to Kit’s glee, inthe William A. Philpott, Jr., Collection andthe Santa Fe Railroad Texas Land Valua-tion Records, respectively. They are Map ofTexas and Part of New Mexico: Compiled inthe Bureau of Topographl. Eng’rs. Chiefly forMilitary Purposes, 1857, and the 1921Railroad Map of Texas Including Parts ofOkla. and La. in Vicinity of G.C. & F.S. Ry.Kit’s article in this issue presents moreinformation about the Philpott discovery.The railroad map, which shows existingand proposed railroad routes in Texas, is amanuscript work prepared for commercialpublication by the railroad’s chief engi-neer. The Santa Fe records also yielded amanuscript map of Galveston from 1901and an 1895 manuscript map of Dallasthat is illustrated with portraits of cityleaders. In August, Michael Heastondonated the rare Lay’s Map of the UnitedStates, published in 1832 in New York, toSpecial Collections in honor of Mr. andMrs. Garrett. The first delivery of therecords of the Association of ProfessionalFlight Attendants also arrived in August.They are featured in an article in this issueby Gary Spurr.

One of Kit’s last official acts was to hirea new Exhibits and Outreach Assistant.Ron Aday resigned from the position inJune, to everyone’s regret, after a just overa year with us. He had brought a new and

acclaimed style to our exhibits. Kit’s newhire, Christian Clark, reported for work onSeptember 1st and lost no time in begin-ning to contribute his expertise to ourefforts. Christian’s credentials include aMaster of Fine Arts in Drawing andPainting from the University of Dallas anda Master of Arts in Art from the sameinstitution. He has been employed as anadjunct professor of art in several localinstitutions of higher education and isexperienced in designing and installingexhibits and planning events. His influencealready can be seen in the public areas ofSpecial Collections.

Several new student assistants havejoined our crew of experienced studentswho returned for the fall semester. We arehappy that Brooke Silkey Kapur, SarwenajAshraf, Najitha Bulathsinhala, and JamieChacko have remained with us, and arepleased to welcome Cam Liu, AmaraSilvany, and Asha Benjamin to SpecialCollections. Huong Pham graduated inAugust, thus ending her employment withus. We were fortunate last year to have anabundance of dedicated volunteers inShirley Rodnitzky, Pat Buisseret, BarbaraWillis, and Alys Glaze. Unfortunately forus, we have lost Shirley (temporarily, wehope) to family responsibilities. Alyscontinues to work on encoded finding aidsand Barbara is processing the GeorgetteMcGar research collection on Fort Worthhistoric homes. We hope Pat will return tous for one last spring semester before herhusband, David Buisseret, retires from theUTA faculty.

A new Graduate Research Assistant,Mary Hayes, began work with the fallsemester. She will arrange and describeunprocessed collections, accession newmaterials, and encode the finding aid shewrote as a student in Gerald Saxon’sarchives class. During her time with us ourspring GRA, Tara Kirk, described eightmanuscript collections at the collectionlevel, wrote 11 finding aids, and encoded11 finding aids in EAD. She also reviewedand upgraded vendor-encoded findingaids. Thanks to the focus provided byTara’s presence, we now have severalfinding aids on the Texas Archival Re-sources Online web site, as promised in mylast column. There are many more tofollow. The address of the TARO site ishttp://www.lib.utexas.edu/taro/

Continued on page 10

W

The Compass Rose • Fall 2005 • 3

anted: single white females, mustbe at least 19.5 years old, between 5’

2" and 5’ 10", weight must be proportionateto height with a minimum weight of 102pounds and not exceeding 145 pounds at 5’10", vision should be 20/50 or better and notrequire glasses while on duty, must have ahigh school diploma. Employment involves

travel, adventure, and a glamorous life.

Sound interesting? These were therequirements for airline stewardessesbefore the passage of the 1964 Civil RightsAct and the advent of unions that repre-sented flight attendants. Not mentioned inthe requirements was that stewardesseswere required to leave the airline whenthey reached the age of 32 or becamemarried. The average tenure was 18months and the job was often looked uponas an adventure before “settling down” tomarriage. Sick leave and insurance werealmost non-existent with a young workforce where the most senior employeeshad only 1.5 years of experience. Therewas no retirement—stewardesses had toquit the airline at age 32. Union activityand the 1964 Civil Rights Act changedthings. Stewardesses became flightattendants as airlines began to hire maleflight attendants, one’s ethnic backgroundwas no longer an issue, and flight atten-dants could marry and have a family. Whathad once been seen as an adventurebecame a career.

All of this is documented in the

Come Fly With Us!BY GARY SPURR

records of the Association of ProfessionalFlight Attendants (APFA), a new andexciting addition to the UTA Libraries’Texas Labor Archives. Representing morethan 25,000 American Airlines flightattendants, the APFA is the largestindependent flight attendant union in thenation. American Airlines flight atten-dants were first represented by the Air

Line Stewards and Stewardesses Associa-tion (ALSSA), which was associated withthe Air Line Pilots Association (ALPA).The American Airlines flight attendantslater left ALSSA and were represented bythe Transport Workers Union Air Trans-port Division, Local 552. In 1976, theAPFA began efforts to become therepresentative body for the flight atten-dants of American Airlines. The effortssucceeded in 1977 and the union won itsfirst contract with American Airlines inNovember 1979.

The APFA records document thestruggle of flight attendants to be seen asprofessionals rather than airbornewaitresses. They contain correspondence,contracts, audio and video tapes ofmeetings of the Board of Directors andthe Executive Committee, nationalofficers’ files, union and base newsletters,newspaper clippings, bid sheets, manuals,contracts of other airlines and airlineindustry unions, and other historicalresearch material. The contracts date from1947 through the 1990s.

Cilla Golas, APFA archivist and flightattendant, began discussions with SpecialCollections about moving the records toUTA in order to give them a morepermanent home in these uncertaineconomic times. Ms. Golas, TommieHutto-Blake (APFA President), and GregHildreath (APFA National Secretary)toured Special Collections and met withseveral staff members. Ms. Golas subse-quently made a presentation to the entireAPFA Executive Board that resulted in itsunanimous vote to place the records atUTA.

The APFA records will be moved toSpecial Collections in several shipmentsand will join the records of other trans-portation unions such as the ProfessionalAir Traffic Controllers (PATCO), theInternational Association of Machinists,the United Transportation Union, theBrotherhood of Locomotive Engineers,and the International Longshoreman’sAssociation. For more informationcontact Gary Spurr at 817-272-3393 oremail spurr@uta. edu. ❂

Members of the Association of Professional Flight Attendants during the 1993 strike.Courtesy of the Association of Professional Flight Attendants.

The four original American Airwaysstewardesses in 1933. From top: Mae Bobeck,Agnes Nohava, Marie Allen, and Velma Maul.Fort Worth Star-Telegram Collection.


A New Dimension continued from page 1

Museum of Science and History. This 102-photograph exhibition of Fort Worthimages was not only an importantmilestone in his career, but a personal oneas well. It was because of Panther CityRomance that he met Ana Beaulac, then aguard at the Amon Carter Museum. Anarecalls, “… I walked over… to see it on mylunch break. It was an incredibly beautifulshow and I called him a few weeks laterand invited him to dinner.” That was thebeginning of a journey the two have takentogether—in life, in photography, and intheir spirituality.

Ana Beaulac was born the daughter ofa diplomat in Washington, D. C., but livedin South America until she was sixteen.Her father bought her two little Kodak boxcameras, one in Santiago, Chile, when shewas ten, and another when the familymoved to Ft. McNair in Washington, D.C.Ana always had a fascination for black and

white imagery. After Ana met Cirrus, theyspent all of their spare time together doingphotography. Cirrus was a “patientteacher,” instructing her in the finer pointsof photography. He says she picked it upeasily, “She has a vision. She knows how tosee.” By nature a solitary person, Ana lovedthe quiet isolation of long hours workingin the darkroom. In time, she becamedissatisfied with the quality of her prints,knowing that the smaller 35mm film usedin her beloved Fujica camera was to blame.Cirrus bought her a Graflex camera forChristmas one year. “We went outshooting that day—icy, icy cold…everything looked like a fairyland withicicles and sparkles. I shot roll after roll,my teeth chattering from the cold… thenwe headed back to the darkroom todevelop the film—finally, I had good, BIGnegatives… it was exciting to see thedifference.” Ana was ultimately to use a

Minolta Autocord “L” camera. “…it waslike an answer to a prayer. I could hang itaround my neck, compose the picture, andshoot. I fell in love with my Autocord andthe square format—it was the thirdcamera my father had given me—he savedthe best for last!”

Ana and Cirrus married in the town ofWest, Texas. They made their first home ina former Pentecostal church in Fort Worthwhere the men’s room served as a darkroom. For about six years, they traveled inTexas and New Mexico photographingcemeteries. In 1986, Ana won a cruise toMexico with one of her photographs, adisappointment as she had hoped tocapture the top prize—a new car. Reluc-tantly, they went on the cruise, cameraequipment in tow. At every port, theydisembarked, hailed the first taxi, andasked to go the local cemetery. A cemeteryin Mazatlán was especially memorable.“Everything was white—the monuments,the statues, the sand, and the enormouswreaths of paper flowers, covered in whatlooked like rice paper… It was exotic andother-worldly. It was there, in Mazatlán,that I first began to photograph inchurches, which quickly became for me asimportant as documenting cemeteries.”Cirrus preferred to be out in the street,photographing children at play. It was notuntil later, back in Texas, that Cirrus alsobegan to photograph church interiors.

Ana’s world was shattered when heroldest son, Bert McChristy, committedsuicide while in the Navy in California. Shedescribes her grief as “huge—terrifying—noisy, glass-shattering, screaming. Itseemed never to end.” Her life wastransformed by a television programabout the apparition of the Virgin Mary inMedjugorje, Yugoslavia. A “lapsed Catho-lic” to this point, she embarked on aspiritual journey that rekindled her deepreligious faith. “I’d always been a nominalCatholic, but not anymore.” Cirrusaccompanied her on this journey of faithin what he terms as “the only importantpart of my story.” Seeing his formerindiscriminate lifestyle to be a “circle offutility,” he was baptized into the RomanCatholic faith. Although Cirrus and Anacontinue to photograph, the two are nowsanteros. Cirrus carves bultos of theirCity Greenwood Cemetery, Weatherford, Texas, 1986. Black and white photography forces the viewer

to see textures and shapes, not color. Photograph by Ana Beaulac.


Continued on page 10

Catholic faith; Ana carves as well, andpaints retablos and other “little paintings”of religious theme. In 1996, the couplecollaborated on A Remembrance and aSigh, an exhibit of their paintings, sculp-ture, and cemetery photographs, at theHaggar Gallery at the University of Dallas.In addition, Cirrus has had one-manshows at the White Mule Gallery inDenton, the Mule Alley Art Center in FortWorth, the Art Gallery of Tarrant CountyJunior College Northwest Campus, andthe Sheldon Gallery at the University ofNebraska. In 1983, Ana won first place inthe “Western” category at the Pioneer DaysFestival in the Fort Worth Stockyards forher photograph entitled The Dance.

The Cirrus Bonneau and Ana BeaulacPhotograph Collection is comprised of8,049 negatives and 696 prints, housed in14 boxes totaling 14.8 linear feet. Thecollection has been divided into two seriesaccording to the creator of the work.Cirrus’ work is the first and larger seriesand includes 5,265 negatives and 482prints created during the years 1977through 1993. His negatives range in sizefrom 2" to 12x20" and his prints from 5x7"to 16x20". In addition to photographicnegatives and prints, his series includesnewspaper articles, exhibition announce-ments, and his personal negatives indexcontaining information on subject,location, film type, lens, exposure, andnegative developing. Ana’s work encom-

passes 2,884 negatives and 214 printsfrom the years 1983 to 1993. Her formatof choice was primarily 2" negatives. Ana’sphotographs range from 4x4" to 16x20".Her series also includes newspaperclippings highlighting her work.

All but a few of the photographs are inblack and white, a format the coupleelected from the outset. Image perma-nence was one reason for their decision,but there was another more importantfactor to consider. Cirrus summarized,“When you strip away the color, it forcesyou to look at things in a different way…When you see it in black and white, yousee textures and shapes, rather than justcolor.” Interspersed throughout thecollection, however, are a few colornegatives and tinted and hand coloredprints. Cirrus continued:

“To me a good photograph isstraight forward and simple withno clutter or attempts to manipu-late the viewer. I like to isolatethings other people might not noticeor think important. It is a thin linebetween too much and not enoughin the picture. The print should besharp and clear with deep blacks,luminous whites, and long grayscale… I have no idea how tocompose a good photograph. I usethe camera to isolate the subjectand I just know when it’s right.There are no rules. With somesubjects I start photographing backa ways and work my way in, takingseveral shots as I move in.”

Tri-X film was the medium of choicefor Cirrus and Ana. They shot at 100, 200,or 800ASA depending upon the cameraand shooting conditions, and never foundmuch use for the film at its rated 400speed. The silver photos are usuallyprinted on Portriga Rapid paper.

The content of the Bonneau andBeaulac Photograph Collection reflectsCirrus’ and Ana’s interest in cemeteries.The majority of the cemeteries theyvisited are in Texas, but images of burialgrounds in New Mexico, Mexico, Califor-nia, Kentucky, New York, Tennessee, andWashington, D.C., are also included. Thenames of many of these cemeteries are as

interesting as the photographs them-selves—including Mukewater, Box PonyCreek, Nubbin Ridge, Goshen, Poe Prairie,and Cabo San Lucas. When walking acemetery, the couple searched for gravesthat were neither too neat nor too clean.Handcrafted markers were among theirfavorites. Cirrus said, “We look forpersonal touches that show familymembers still come.” Cirrus later reflected,“Life and death are personal and oldcountry cemeteries are personal. The folkart in them reflects the lives of people in away I can relate to.” Ana and Cirrus alsotried to imagine the stories about the livesand deaths of those buried in the cem-etery—it became a true spiritual experi-ence. Ana commented, “I walk through thecemeteries and pray for those that areburied there, and for the families whocome to visit… God didn’t create us forthis world. This is not our home.” Thecouple’s deep religious devotion is alsoreflected in their intimate views ofchurches in Fort Worth and wherever theirtravels took them.

A second major focus of Cirrus’ andAna’s cameras is Fort Worth buildings,streetscapes, and events. The collectioncontains all of the negatives and some ofthe prints from Cirrus’ 1981 Panther CityRomance exhibition at the Fort WorthMuseum of Science and History. “I workedin a lot of neighborhoods that were fastdisappearing and are now gone. I wantedthese places to be remembered.” Many ofthe images are familiar, such as theBlackstone Hotel, Flat Iron Building,Amtrak Station, Botanic Gardens, WaterGardens, Fort Worth Stockyards and WillRogers Coliseum. Others are everydayviews, passed daily yet never seen—scenesfrom gas stations, barber shops, cafes,residential neighborhoods, grain elevators,fences, alleys, and abandoned buildings.

Well-known local events such as theFat Stock Show and Golden Glovescompetition are portrayed in the collec-tion, as are unnamed street celebrations. Asignificant portion of Cirrus’ workdocuments the legendary Von Erich familyin wrestling matches held at the FortWorth Will Rogers Coliseum. Other Texascities photographed by Cirrus and/or Ana

An unidentified Texas cemetery, circa 1985-1988.Handcrafted markers were favorite subjects forboth Bonneau and Beaulac. Photograph by AnaBeaulac.


or nearly two years, the richesof Special Collections have been

highlighted in a weekly feature in theSunday edition of the Arlington Star-Telegram. Located on the second page ofthe Arlington (BB) section, “Time Frames”regularly spotlights a photograph, map, ordocument from our collections. Thecolumn provides an opportunity to shareSpecial Collections’ extensive holdings withan audience of over 67,000 households inArlington, Dalworthington Gardens,Grand Prairie, Kennedale, Mansfield, andPantego, Texas.

This collaborative effort evolved froman October 2003 article written by O. K.Carter about Special Collections’ acquisi-tion of the J. W. Dunlop PhotographCollection. Manuscript Archivist BrendaMcClurkin proposed the feature to Carter,who enthusiastically presented thesuggestion to newspaper executives. Thenew column was born and took its namefrom the headline of a second article onthe Dunlop photos done by Carter’scolleague, L. Lamor Williams. McClurkincoordinates “Time Frames” content withsupport from her Special Collectionscolleagues and hands it off to Kristi Payne,Assistant Metro Editor of the ArlingtonStar-Telegram.

A broad spectrum of subjects has beenselected for “Time Frames”, drawing fromall aspects of the collections. They havebeen as diverse as the woodcut title page ofthe Cabeza de Vaca’s La Relación yComentarios, 1555; a 1721 map publishedin Juan Antonio de la Peña’s Derrotero de laExpedición en la Provincia de los Texas…;the March 24, 1836, issue of the Telegraphand Texas Register reporting the fall of theAlamo; original 1837 parole documents ofMexican Army officers taken prisoner atthe Battle of San Jacinto; 1839 Republic ofTexas currency; a slave manifest for thesteamship Portland that sailed to Galvestonin mid-July, 1850; a 1911 invitation to aFourth of July celebration sponsored bythe American Colony of Mexico City; 1915sheet music celebrating the battleshipU.S.S. Texas; a Neiman Marcus ad forladies’ “Palm Beach Styles” from theDecember 1919 issue of Beau Monde:Dallas’ Pictorial Weekly; and a photograph

Time FramesBY BRENDA S. MCCLURKIN

F

of the debris from the Roswell incident inJuly, 1947.

A concerted effort is made to link the“Time Frames” topic to a historic orcurrent event. As an example, the firstarticle was a two-part series that appearedon November 17 and 23, 2003, andcommemorated the fortieth anniversary ofthe assassination of President John F.Kennedy. It featured Fort Worth Star-Telegram photographs of Kennedy’sNovember 1963 visit to Fort Worth and ofLee Harvey Oswald’s funeral. Holidays havebeen acknowledged with photographs of anEaster egg hunt at Arlington State Collegein the mid-1950s, Amon G. Carter hosting

his traditional Thanksgiving meal for Star-Telegram newsboys in 1941, and two smallboys riding the Leonard’s DepartmentStore monorail during the Christmasseason of 1949.

Photographs are particularly eye-catching, and images of Arlington andFort Worth history have often beenfeatured. The J. W. Dunlop PhotographCollection is an excellent source of historicimages of Arlington citizens, buildings,businesses, schools, street scenes, andevents, while the Fort Worth Star-TelegramCollection contains a wealth of Fort Worthand early Texas images. The Basil ClemonsPhotograph Collection has been tapped

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for its photographs of 1920s store windowdisplays, circus performers, and variousother aspects of life in the oil boom-townof Breckenridge.

UTA history has not been overlooked.Images have highlighted the CarlisleMilitary Academy football teams of 1904-1908; the 85-year history of the studentnewspaper, The Shorthorn; Arlington StateCollege’s successful bids for Junior RoseBowl championships in 1956 and 1957;UTA Olympic gold medalist swimmer,Doug Russell; and a 1982 homecomingbonfire. Current events at UTA also havebeen publicized to encourage publicparticipation: President Spaniolo’s

investiture, a Libraries exhibit featuringFormula SAE racing cars, the VirginiaGarrett Lectures in the History of Cartog-raphy, and Special Collections exhibits allhave been promoted. Even PresidentSpaniolo’s political campaign buttoncollection was featured in October 2004during the national presidential campaign.

Response to “Time Frames” has beenvery positive. Readers frequently say theyclip the articles to keep or mail to others.Many “Time Frames” readers have foundtheir way to Special Collections to use ourmaterials or view exhibits. Others havefound loved ones (or themselves!) picturedin featured photographic images and have

called to order a print of the image.Tarrant County Judge Tom Vandergriffhad the opposite experience. He calledabout a photograph of the gathering heldat the B&B Café in Arlington celebratinghis inaugural election as mayor in April,1951. Judge Vandergriff knew he had beenat the B&B that evening, but he was notincluded in the picture!

“Time Frames” continues to be a wayfor Special Collections to reach out to thepublic and demonstrate the depth of thecollections that they may use and enjoy.Pick up a Sunday Arlington Star-Telegramand become a regular “Time Frames”reader yourself! ❂

Time Frames

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1 Uncle Frank Neal, Parker County pioneer, is caught napping in his chair.Robert Hanks Brister Papers. (June 19, 2005)

2 Twins Byron and Lee Hendricks performed their daredevil double Roman jump at the1952 Fort Worth Stock Show Rodeo. Fort Worth Star-Telegram Collection. (January 24, 2004)

3 UTA homecoming activities in October 1982 included a bonfire lighting.UTA Photograph Collection. (February 15, 2004)

4 Woodcut title page of Cabeza de Vaca’s La Relación y Comentarias, 1555.Jenkins Garrett Collection. (July 25, 2004)

5 Arlington mineral well fountains at Center and Main Streets, circa 1910.J. W. Dunlop Photograph Collection. (November 14, 2004)

6 Segal’s Pre-Easter Style Show attracted the ladies of Breckenridge Texas.Basil Clemons Photograph Collection. (April 4, 2004)

7 This sign designated members of the Journeymen Barbers, Hairdressers, Cosmetologistsand Proprietors’ International Union, Local 63, Dallas, Texas, circa 1915. UTA Labor Archives.(January 9, 2005)

Dates in parentheses indicate when the images were featured in the Arlington Star Telegram.


n 1857 the Bureau of TopographicalEngineers contracted with the New

York firm of H.F. Wallings to publish acompilation of the extensive expeditionsand explorations of the U.S. Army inTexas, the upper Rio Grande, and thenorthern area between the Arkansas andRed Rivers. The publication included thework of 18 Army expeditions, twocoastal surveys of the U.S. Navy, and thework of Jacob de Cordova and the TexasGeneral Land Office. This phenomenalmap, titled Map of Texas and Part of NewMexico: Compiled in the Bureau ofTopographl. Eng’rs. Chiefly for MilitaryPurposes, 1857, stands as a landmarkmap of the period for its excellentportrayal of the region on the eve of theCivil War.

The map specifically depicts theregion between the 36th parallel on thenorth to just below the mouth of the RioGrande at the 25th parallel in the south.It stretches from the 107th meridian onthe western boundary to the 93rdmeridian on the east. It includes excel-lent portrayals of the Gulf Coast as wellas the area’s rivers and streams. Amongother points of military interest, the mapnotes towns, settlements, roads, trails,forts, camps, and expedition routes. Achart names 29 specific sites withlatitudes and longitudes along with alisting of the military expeditions,reconnaissance, and surveys conductedin the region by the U.S. Army and theU.S. Coast Survey. The list credits thereputable de Cordova and the TexasGeneral Land Office for contributions.

Landmark Military Map AcquiredBY KIT GOODWIN

I The military focus of the map is alsoapparent in the display of 24 Army postsas well as the routes, trails, and roadsestablished between them. There arethree areas of concentration with 12forts along or parallel to the RioGrande, six forts on a line beginningjust north of the confluence of theCanadian and Arkansas Rivers andrunning along the central portion ofTexas, as well as a western line of sixforts that zigzag between the 98th and101st meridians.

Many of these forts were establishedduring the late 1840s and early 1850sand were named after U.S. Army officerswho served in the war between theUnited States and Mexico (1846-1848).The military establishments werecharged with providing protection tosettlers and travelers against hostile

Indians along a rapidly changingfrontier. Many were abandoned duringthe Civil War when Texas seceded fromthe Union.

The 1857 map is important intracing the development of Texas,especially in the western regions where itportrays the expanding frontier. Thecartographic information produced bythe U.S. Army Bureau of TopographicalEngineers reflects the government’sresources and expertise in explorationand mapping. Their reliable work waspublished and used as source materialby most of the commercial map makersin both the United States and Europe atthe time. This map is part of the WilliamA. Philpott, Jr., Collection acquired thisyear by Special Collections. It has beencataloged online and is available forresearch and study. ❂

The 1857 map is important

in tracing the development

of Texas, especially

in the western regions

where it portrays

the expanding frontier.Map of Texas and Part of New Mexico: Compiled in the Bureau of Topographl. Eng’rs. Chiefly forMilitary Purposes, 1857. William A. Philpott, Jr., Collection.


eproductions from UTA Libraries’Special Collections, including an

1864 diary and money printed for theRepublic of Texas, will visit Metroplexschools this fall as part of the Fort WorthMuseum of Science and History’s SchoolLoan Kits program. The collaborationbetween UTA Libraries and the FortWorth Museum of Science and History(FWMSH) began in January, 2005, afterthe UTA Libraries’ Information Literacydepartment (IL) decided to expand itsoutreach programs to area K-12 students.The IL department helps studentsrecognize their information needs, learnhow to find relevant information, andevaluate information critically. EvelynBarker of IL met with members of theSpecial Collections staff—Kit Goodwin,Brenda McClurkin, and CathySpitzenberger—to develop ideas on waysto use the rich historical resources in thephotographic, cartographic, and manu-script collections.

The Fort Worth museum has adminis-tered this program for several years,lending kits about historical and scientifictopics to area schools, whether they arepublic, private, or home schools. The kitsuse artifacts, reproductions, books, games,photographs and letters to teach abouthistorical topics. The collaborationbetween UTA and FWMSH was idealbecause it allowed UTA Libraries toconnect with area schools and it allowedthe museum to get new and variedmaterial into its kits.

Barker contacted FWMSH to see ifthey were interested in a partner, andhappily they were. The project collabora-tors had some familiarity with the otherorganization’s holdings and their institu-tional missions meshed naturally. Afterestablishing what kind of kits the mu-seum had and what materials were inthem, the group looked at UTA’s collec-tions to see what would work well.

UTA Libraries completed the firstphase of the collaboration in August withthe delivery of several items for themuseum’s Texas Pioneers kit. The originalkit included artifacts like a butter mold,cotton cards, and a corn husk doll; booksabout hand shadows and string games;

UTA Collaborates with Fort Worth Museum on School KitsBY EVELYN BARKER

and a game centered on the Peters Colonywagon train. Thanks to the efforts oflibrarian Cathy Spitzenberger and archivistBrenda McClurkin of Special Collections,UTA Libraries contributed reproductionsof 19th and early 20th century photo-graphs; a reproduction of a diary writtenin 1864 and 1865 that details a trip fromBoerne, Texas (near San Antonio), toMatamoros, Mexico; and reproductions ofmoney from the Republic of Texas era. Forthe diary and currency, IL librariansEvelyn Barker and Lea Worcester createdlesson plans and activities that support theTexas Essential Knowledge and Skills(TEKS) standards used in public schools.

Barker noticed when viewing thefeedback forms for the existing kits thatteachers wanted lesson plans to go alongwith the kits. When the UTA items wereselected, she and Worcester decided todevelop lesson plans to go with them, thusadding a new dimension to the kits. Aftercreating the lesson plans and supporting

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materials, the UTA Libraries decided tomake them available to all teachers througha series of web pages which support K-12teachers both in and out of the classroom(http://library.uta.edu/Main/tLink.uta).The teacher program, calledT-Link, freely offers the lesson plansand all related material for downloadthrough the History’s Lessons link (http://library.uta.edu/Main/historysLessons.uta).

UTA Libraries and Fort Worth Museumof Science and History plan to continuetheir collaboration. Existing lesson planswill soon feature ESL (English as a SecondLanguage) components and work hasalready started on a new kit about the CivilWar that will once again draw fromphotographic, cartographic, and manu-script resources held in Special Collections.Working with the museum has been anenjoyable and productive experience andthose involved hope to continue thepartnership for many years to come. ❂

C. Jane Dees, Research Librarian/Archivist at FWMSH, and Evelyn Barker, Instruction and InformationLiteracy Librarian at the UTA Libraries, display the results of their work on the Texas Pioneers kit.


Our other recent activities includedimproving access to oral history inter-views. Not only did we employ vendors totranscribe most of the interviews awaitingtranscription, but Gary Spurr and I, withthe advice of UT System attorney, GeorgiaHarper, completed revision of our oralhistory release forms. Not least, LAIII AnnCammack began to create catalog recordsfor the Women in Arlington interviews.On other fronts, Public Services LibrarianCathy Spitzenberger is spearheading aproject to digitize sold-out volumes ofPapers Concerning Robertson’s Colony inTexas by working with a vendor and withJohn McLean, son of series editor Dr.Malcolm McLean, to improve the trialproduct. We have engaged Amigos LibraryServices to survey our photographcollections and we look forward toincorporating their advice in our efforts topreserve those materials. BrendaMcClurkin is working with AmiMotsenbocker of the Arlington Indepen-dent School District to feature Arlingtonphotographs in a Distributive EducationClubs of America playing card marketingproject. The project offers an excitingopportunity to inform students and the

community about Arlington’s history andthe Special Collections resources thatdocument it.

Special Collections staff members are,as usual, involved in a variety of profes-sional activities in addition to their dailywork. Brenda McClurkin and I made apresentation at the San Jacinto Battle-ground Association annual meeting inApril. Brenda remains active in ParkerCounty and Fort Worth historical groupsand on the Society of American Archivists’Key Contact Committee, and I haveentered the final year of my two-year termas a member of the Society of SouthwestArchivists Executive Board. Kit Goodwinserves as a Councilor for the Society forthe History of Discoveries and as Secre-tary/Treasurer of the Texas Map Society.Carolyn Kadri is a member of the Ameri-can Library Association’s Maps andGeography Round Table (MAGERT) andchaired the Membership Committee ofMAGERT’s Cataloging and ClassificationCommittee. She attended the ALA annualmeeting in June. Maritza Arrigunagatraveled to Quintana Roo in August tomake presentations on military recordsfrom the Salazar Ilarregui Papers and on

her Yucatan Caste War bibliography. In June,she addressed the Hinojosa GenealogicalSociety in Colorado about major Mexicanarchives and UTA’s Yucatecan records onmicrofilm. Blanca Smith, Gary Spurr,Brenda McClurkin and I attended the Mayannual meeting of the Society of SouthwestArchivists, held in Baton Rouge, Louisiana,and Brenda, Gary and I went to NewOrleans in August for the annual meeting ofthe Society of American Archivists. Kit,Carolyn, Brenda and I attended meetings,which Kit was instrumental in organizing, ofthe Texas Map Society. While in Austin forthe spring meeting we had the pleasure ofviewing the Bob Bullock State Museum ofTexas History’s exhibit, “Drawn fromExperience: Landmark Maps of Texas,” inwhich maps and globes from the VirginiaGarrett Cartographic History Libraryfeatured prominently.

All of our activities are intended tobenefit you, the researcher, whether student,faculty, staff, or visitor. As always, I inviteyou to visit us in Special Collections and letus assist you with your research needs. Welook forward to welcoming you. ❂

Update from the Coordinator continued from page 2

A New Dimensioncontinued from page 5

include Galveston, Denton, Dublin, MineralWells, and Pilot Point; while subjects beyondTexas include California, Arizona, NewMexico, New York, Washington, D.C.,Mexico, and a space shuttle launch inFlorida.

Cirrus and Ana donated their photo-graphs to Special Collections in September,2003. Ana’s gift was made in memory of herson, Bert McChristy, and with thanks to herfather and her husband, who “taught meeverything with so much love and patience.”The processing of the collection is nearingcompletion and it will soon be available forresearch use. An exhibit entitled A NewDimension, comprised of 26 photographsfrom the Cirrus Bonneau and Ana BeaulacPhotograph Collection, will be on view inSpecial Collections from December 2005through February 2006. For further infor-mation, please contact Brenda McClurkin at817-272-7512 or [email protected]. ❂ Cirrus Bonneau focused his camera lens on disappearing Fort Worth neighborhoods, 1978.


Kit Goodwin RetiresBY ANN E. HODGES

documentary on the Mexican War. ThatKit was often recognized as a valuableemployee will be no surprise to the manypeople who have relied on her carto-graphic expertise and appreciated herwork on numerous exhibits, on theVirginia Garrett Lectures in the Historyof Cartography, and with the Texas MapSociety. Not to be overlooked are theuncounted students Kit helped to educateby providing library instruction to theirclasses, working with them individually asresearchers while they completed theirclass assignments, and supporting theirprofessors’ course content with herknowledge of Special Collections’resources.

Kit’s work in Special Collections wasnot limited to the high-visibility events towhich her gregarious nature lent itself sowell. Behind the scenes—when notengaged in the extensive preparation thatunderlay the public activities—shereviewed and selected maps and other

K atherine R. Goodwin retired from theUTA Libraries on August 31, 2005.

Her departure ended an 18-year tenurewith Special Collections that began in1987 when she left the UTA HistoryDepartment, where she had been aGraduate Teaching Assistant, to work as aLibrary Assistant on Jenkins Garrett’spublication, The Mexican-American Warof 1846-1848 : A Bibliography of theHoldings of the Libraries, The University ofTexas at Arlington. A year before she cameto Special Collections, Kit began workingfor Mr. and Mrs. Garrett on their mapand atlas collections preparing catalogingdata and making lists for their buyingtrips.

Kit earned her Master of Arts degreein history from UTA in 1988 with a thesisentitled, “The Land that Became Texas:An Annotated Cartobibliography with aHistorical Essay.” From 1988 until 1995she taught U.S. history at Tarrant CountyCollege and at UTA. Having also receiveda Certificate of Archival Administrationfrom UTA in 1988, Kit became anarchivist in Special Collections in 1991.Her employment history with theLibraries is studded with service awards,accolades from colleagues, and commen-dations from university administrators.She received awards for activities rangingfrom helping with the Libraries’ 4th ofJuly parade float to contributing to thesuccess of KERA-TV’s Emmy-winning

cartographic materials, worked withcataloging staff to provide descriptiveinformation about her choices, organizedand described collections of maps, servedon library and university committees,wrote articles for professional publica-tions, held office in professional organiza-tions, maintained the Special Collectionsweb site, and supervised the Exhibits andOutreach Assistant and a student em-ployee. If reading about Kit’s responsibili-ties is tiring, imagine the energy requiredto carry off this balancing act as success-fully and cheerfully as Kit did!

There are not adequate words toexpress our gratitude for Kit’s contribu-tions over the years to Special Collections,the Libraries, and the university. Neithercan we truly convey our regret at thedeparture of such a valued colleague andcomrade. We are fortunate to be able tocontinue to call on Kit when we need to,because, although her retirement isofficial, we are still learning to get alongwithout her. Always known for “going theextra mile,” she kindly continues toanswer our questions. The end of Kit’semployment has not meant the end ofher service to the Texas Map Society. Sheretains her office of Secretary-Treasurerand remains active in running the Society.For Texas Map Society business she canbe contacted at 817-861-1452 [email protected]. It works—that’swhere we find her! ❂

There are not adequate words

to express our gratitude for

Kit’s contributions over the

years to Special Collections, the

Libraries, and the university.

Betty Wood, Kit Goodwin, and Melissa Goodwin Fetch celebrate at Kit’sretirement reception.

Kit Goodwin, Virginia Garrett, and Jenkins Garrett examine a map purchasedin Kit’s honor.

Special CollectionsBox 19497The University of Texas at ArlingtonArlington, Texas 76019-0497

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The Friends of the UTA Libraries

cordially invite you to a

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RSVP by December 8 at 817-272-7421 Illustration

“Child Chimney Sweep.” 1866, Dickens on England and the English

Malcolm Andrews, Harvester Press Limited, 1979.

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