HomeMy WebLinkAbout2017-453-E Arts - Eno Publishers - 2017-18 Arts Grant Agreement DocuSign Envelope ID: 11DE62E5-2A6F-405A-95C6-39BD794A60E4
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August 1 5, 201 7
Elizabeth Woodman, Executive Director
Eno Publishers
1 1 1 %2 N. Churton St.
Hillsborough, NC 27278
GRANT AWARD LETTER
Fiscal Year 201 8
Grant Category Grassroots Arts Program
Funding Source Orange County
Award $1 ,407
Start Date July 1 , 201 7
End Date June 30, 2018
OCAC Report Due Friday, July 6, 201 8
Project Title Hidden Hillsborough
Staff Contact Katie Murray, Director
919/245-2335
kmurray @orangecountync.gov
Stipulations 1 . Grantee must properly credit the Orange County Arts
Commission and/or North Carolina Arts Council (according
to Funding Source, provided above), using the proper logo
AND credit line on all publicity materials. View proper credit
line language and download logos on the OCAC website at
https://artsorange.org/grants/grantee-resources
WI
DocuSign Envelope ID: 11 DE62E5-2A6F-405A-95C6-39BD794A60E4 C
ORANGE COUNTY ARTS COMMISSION
�a a »v (r 1 1∎iJ r J F 1 a Z I7®1 GRANT AGREEMENT N
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THIS AGREEMENT, entered into this 17 day of August, 2017, by and between Orange County
("County"), by and through the Orange County Arts Commission ("Arts Commission") and Eno
Publishers ("Grant Recipient").
WHEREAS, the Arts Commission is a countywide arts agency that ensures the growth of
local arts experiences by providing funding and support for diverse high quality programs and
projects.
WHEREAS, the Arts Commission administers the annual Grants Program to provide
economic opportunities to Orange County artists and non-profit organizations coordinating arts
projects benefiting the citizens of Orange County.
WHEREAS, the annual Arts Grants Program is supported by Arts Commission with
funds from the Grassroots Arts Program of the North Carolina Arts Council, a division of the
Department of Natural and Cultural Resources, a state agency.
WHEREAS, the Grant Recipient was selected by the Arts Commission to receive the
annual Arts Grant through the procedures duly adopted by the Arts Commission; and
WHEREAS, both parties wish to promote and maintain the integrity and clarity of the
Grant Recipient's ideas and statements and delineate the Grant Recipient's obligations to the
County;
NOW, THEREFORE, the County and the Grant Recipient, for the consideration and
under the conditions hereinafter set forth, agree as follows:
1. Approved Grant Project. Grant funds are provided under this Agreement for the project
("Project") described in the Grant Recipient's Grant Application, attached hereto and
incorporated herein as Exhibit A.
2. Grant Award. Grant funds in an amount not to exceed one thousand four hundred seven
($ 1,407) have been awarded by the Arts Commission to the Grant Recipient for the
approved Project. The Recipient shall be required to match funds at least dollar-for-
dollar with cash from the Grant Recipient's funds not derived from either Orange County
appropriations or the North Carolina Arts Council, as outlined in the attached Exhibit A.
3. Contingency. This grant is contingent on North Carolina Arts Council Grassroots
Program funding to the Arts Commission. Final decisions on Grassroots Program funds
to the North Carolina Arts Council are subject to approval by the North Carolina General
Assembly.
4. Responsibilities of the Grant Recipient
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A. Implementation. The Project implementation shall take place between July 1,
2017 and June 30, 2018. The Project shall be implemented in the manner
described in Exhibit A. Time is of the essence in the implementation of the
Project.
B. Modifications to project. Grant Recipient shall present major changes to the
original proposal, including but not limited to changes in design, implementation
schedule and increase in Project budget by more than 10%, in writing to the Arts
Commission for approval. Arts Commission shall approve or disapprove Grant
Recipient's request for modifications within seven (7) days of receipt thereof
Consent to project modifications shall not be unreasonably withheld. Arts
Commission's decisions shall be in writing. In the event the Arts Commission
fails to approve or disapprove the requested modifications within the time stated
herein, the modifications shall be deemed approved.
C. Non—assignment. The grant cannot be assigned or transferred to a different project
or artist without prior written approval of the Arts Commission.
D. Records. Grant Recipient must maintain records and other evidence pertaining
to costs incurred and revenues acquired during the Project implementation. Grant
Recipient shall maintain financial records pertaining to the Project for three (3)
years from the date of this Agreement, in case of audit.
E. Use of Funds. Grant Recipient shall not use the grant funds to repay outstanding
taxes or other debts of any nature. The grants shall be utilized solely for the
purpose described in the attached Exhibit A.
F. Final Report. Grant Recipient shall submit to the Arts Commission a Final Report
on July 6, 2018. The Final Report shall be in the format required by the North
Carolina Arts Council. Failure to submit the Final Report or late submission of
the Final Report, for any reason, shall be grounds for denial and/or cancellation of
grant funds for the Project and future grant proposals.
5. Responsibilities of the Arts Commission
A. Payment. The Arts Commission shall release the grant funds in the amount of
$1,407 to the Grant Recipient.
6. Publicity
A. Acknowledgement. Credit must be given to the Orange County Arts
Commission and/or the North Carolina Arts Council using the proper logo(s)
and credit line in brochures, news releases, programs, and all other printed and
online publications. Copies of such printed materials must accompany the
evaluation report. Official Orange County Arts Commission and North Carolina
Arts Council logos may be downloaded at www.artsorange.org/grantee-resources
and may not be altered in any way. When no printed information is used, verbal
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credit shall be given. In addition, all print and promotional material must include
the following credit line and logo(s) (check all that apply):
i. x County Funds Only. Orange County Arts Commission logo required.
Credit line required for audio projects: "This program is supported by the
Orange County Arts Commission. "
ii. North Carolina Arts Council Funding. The Orange County Arts
Commission and the North Carolina Arts Council logos are required. Credit
line: "This program is supported by the N.C. Arts Council, a division of the
Department of Natural and Cultural Resources. "
B. The Grant Recipient must enter all events, exhibits and performances open to the
public and related to this grant award on the ExploreChapelHillARTS.com
website and display Orange County Arts Commission publicity materials
(postcards, brochures, etc.) prominently and consistently at their venue or
performance space. In addition, the Grant Recipient must add a link to the
www.artsorange.org (Orange County Arts Commission logo preferred) to their
main webpage.
7. Indemnity. The Grant Recipient agrees to indemnify and hold harmless the County, the
Arts Commission and the North Carolina Arts Council and their officers and employees
from any and all claims or actual injury, damage or loss to a person, or real or personal
property that results from or is in any way connected to the use of the grant funds.
8. Independent Contractor. The Grant Recipient is an independent contractor and not an
employee, agent or other representative of the County and/or the Arts Commission.
Nothing contained in this Agreement shall be construed to create the relationship of
principal and agent, or employer and employee, between Grant Recipient and Arts
Commission or Orange County Government. Grant Recipient understands and agrees
that he/she is not authorized to incur any expenses or any liability whatsoever on behalf
of the County or the Arts Commission and has no authority, expressed or implied, to
obligate or make representations on behalf of the County or the Arts Commission. In
addition, Grant Recipient agrees to maintain his or her own worker's compensation
insurance for himself/herself and his or her employees for the duration of the art work's
installation.
9. Termination
A. In the event of any of the circumstances set forth below (hereinafter referred to as
"default"), the Arts Commission may immediately terminate this Agreement:
(i) Any fraudulent representation in any verification required to obtain
payment under this Agreement or other dishonesty on a material matter
relating to the performance of services under this Agreement.
(ii) Nonperformance, incomplete service or performance, or failure to
satisfactorily perform any part of the Project or to comply with any
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Revised August 2017
DocuSign Envelope ID: 11DE62E5-2A6F-405A-95C6-39BD794A60E4
provision of this Agreement, as determined by the Arts Commission in its
sole discretion.
(iii) Failure to adhere to the terms of applicable county, state or federal laws,
regulations, or stated public policy.
B. In the event of default by the Grant Recipient, the Arts Commission has the
discretion to elect to terminate this Agreement, in whole or in part and/or require
the Grant Recipient to repay the grant funds within seven (7) from written notice
of default or allow the grant recipient the opportunity to cure the default. This
clause shall not be interpreted to limit the County's or the Arts Commission's
remedies in law or in equity.
10. Miscellaneous.
A. Entire Agreement. This Agreement and the attachments contain the final and
entire understanding of the parties with respect to the subject matter of this
Agreement. All modifications and amendments to this Agreement shall be in
writing. This Agreement shall be binding upon the parties, their heirs, successors
and assigns.
B. Governing Law. Both parties agree that this Agreement shall be governed by the
laws of the State of North Carolina. Provider shall at all times remain in
compliance with all applicable local, state, and federal laws, rules, and regulations
including but not limited to all state and federal anti-discrimination laws, policies,
rules, and regulations and the Orange County Non-Discrimination Policy and
Orange County Living Wage Policy (each policy is incorporated herein by
reference and may be viewed at
http://www.orangecountync.gov/departments/purchasing_division/contracts.php).
Any violation of this requirement is a breach of this Agreement and County may
immediately terminate this Agreement without further obligation on the part of
the County. This paragraph is not intended to limit and does not limit the
definition of breach to discrimination. By executing this Agreement Provider
affirms that Provider is and shall remain in compliance with Article 2 of Chapter
64 of the North Carolina General Statutes. By executing this Agreement Provider
certifies that Provider has not been identified, and has not utilized the services of
any agent or subcontractor, on the list created by the State Treasurer pursuant to
G.S. 147-86.58.
C. Entire Agreement and Signatures. The parties have read this Agreement and agree
to be bound by all of its terms, and further agree that it constitutes the complete
and exclusive statement of the Agreement between the parties unless and until
modified in writing and signed by the parties. This Agreement together with any
amendments or modifications may be executed electronically. All electronic
signatures affixed hereto evidence the intent of the Parties to comply with Article
11A and Article 40 of North Carolina General Statute Chapter 66.
[SIGNATURE PAGE TO FOLLOW]
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DocuSign Envelope ID: 11DE62E5-2A6F-405A-95C6-39BD794A60E4
IN WITNESS WHEREOF, the Orange County and the Grant Recipient have signed this Grant
Agreement, effective on the last date this Agreement is signed by both parties as indicated by the
dates set forth under signatures below.
For and on behalf of the Grant Recipient
flDocuSigned by:
A/7)oJl &. (Pooh , 8/24/2017
r R:FinTrdbdrnan,Director Date
For and on behalf of Orange County Government
DocuSigned by:
'bUA,UULlt, lka.wovtt,V'Sl,t�j 9/5/2017
Iititelittrititriersley, County Manager Date
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Revised August 2017
DocuSign Envelope ID: 11DE62E5-2A6F-405A-95C6-39BD794A60E4
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2017-18 APPLICATION
Applicant: Eno Publishers
Date Received: 6/2/17 Date Notified Complete: 6/9/17
Project Title: Hidden Hillsborough (book) Date: Oct. 17
Use of Funds: Marketing
NCAC Funding Priority: ® 1St o 2nd ❑ 3rd
NCAC Multicultural Requirement? ❑ Yes Amount $ @ No
Total number served: Printing 750
Community served: NA
Demographics: NA
CHECKLIST
▪ Completed application form with @ Budget: FY17-18
signatures @ Board List
• Narrative ® Tax exemption letter
• Project Budget worksheet ® Sample publicity
• Resumes of key artists/instructors @ Work samples
® Financials: FY15-16 ❑ Letters of support(not required)
• Financials: FY16-17
AMOUNT REQUESTED: $1 750 AMOUNT GRANTED:
FINAL SCORE:
DocuSign Envelope ID: 11DE62E5-2A6F-405A-95C6-39BD794A60E4
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Cele 2017-18
ORANGE COUNTY ARTS co\rz. GRASSROOTS ARTS PROGRAM
COMMISSION www.ncarts.org APPLICATION FORM
PART 1 : APPLICATION ORGANIZATION INFORMATION
Organization Name: Eno Publishers
Street Address: 111 1/2 N Uhurton Street
City:Hillsborough State:NU zip:27278
Phone:919-632-6893 Website:www.enopublishers.org
Authorizing Official Name:Elizabeth Woodman
Authorizing Official Title:Executive Director
Authorizing Official Phone:919-632-6893 Authorizing Official Email:elizabeth(cgenopublishers.or
Applicant Race:Caucasian Organization El N:
ORGANIZATIONAL FINANCES
Please attach a complete income and expense statement(an audit may be substituted)for your last fiscal year and
complete operating budgets for the current fiscal year and next fiscal year. Public schools and other large governmental or
community agencies should attach arts program financial information only. Please copy the totals from these attachments
in the spaces below:
Last Year Actual: FY15-16 Current Year: FY16-17 Next Year: FY17-18
Actual Income: $26,492 Projected Income: $47,900 Projected Income: $34,050
Actual Expenses: $26,492 Projected Expense: $44,600 Projected Expense: $ 28,895
PART 2: PROJECT INFORMATION
PROJECT DIRECTOR INFORMATION (if different from Authorizing Official)
Project Director Name:
Project Director Title:
Street Address:
City: State: Zip:
Phone: Email:
PROJECT SUMMARY
Title of Grant Program or Project:Hidden Hillsborough
Grant Amount Requested:$1750
Project Start Date(No earlier than July 1, 2017):Sept. 1, 2017
Project End Date(No later than June 30, 2018):June 30, 2018
SCHOOLS ONLY:
Are you booking your artists through The ArtsCenter's Arts in Schools Program? 0 YES 0 NO
201/(,01woolk Hwy( Apply ,111,ni l'el
onnunign Envelope ID: 11osnoEn-2AoF-4onA-9nCn-3eeoro4Aons4
PROJECT NARRATIVE
Please attach a narrative providing the information requested below for the project you propoma. Please be as concise
and specific as possible:
1. Please give a brief description of your organization, including miea\on, board and staff composition, current arts
programs and services and number and kinds of people served. Public schools and other large governmental or
community agencies should provide a description of their arts program only rather than the entire organization. (250
words or less)
2. Offer a brief summary of the proposed project.
3. State your p ject's goals.
4. Offer a description of intended participenta/mudienoe, including estimated numbers and racial and cultural
composition. For school applications please include the demographic breakdown of the student body, as well as the
percentage of students on the Free and Reduced Lunch Program.
5. Describe the location where project will bake place.
G. Explain all project activities.
7. Describe all artists to be involved in the project, how and why they were chosen, and the rate of payment for their
services. If you have not yet selected the artists, describe the kinds of artists you intend to involve and how you will
select them. (8ohoo|s, please indicate if you are working with The Arts Center's Arts in School program to secure your
artists). Please include the ethnicity of artists or instructors hired for the project.
8. Describe how the project will be publicized and promoted to reach intended participants.
Q. Describe how you will evaluate the project.
PROJECT BUDGET
Please provide a p jected budget for your proposed p ject utilizing the format below. You may attach an additional
detailed budget if necessary, but the tables below must be filled out. Please see the attached Glossary of Budget Terms
for more information.
PROJECT . , ~
` � . ' .� .` Expense
Administrative Staff: $ 0 $4000 $4000
A. Personnel Artistic Staff:
Technical/Production Staff: $
B. Outside Fees and Artistic Contr 6500 $6500
� $ �
Services Other contr 9500 no�y� � $ $ 9500
C. Space Rental $ 1800 $ 1800
D. Travel $ 150 $ 150
E. Marketing $ 1750 $1750 $ 8500
F. Remaining Project � $ 1000 $ 1000
Expenses
G. Total Cash Expenses $ 1750 $ 24,700 $26'450
A. Admissions �
B. Contracted Services
�
Revenue
C. Other Revenue Book Sales (net; to Eno) $ 13'700
Corporate Support: �
D. Private Support Foundatio Support: $5,000
Other private support: �
Federal: �
E. Government Support State/Regional: �
Local(not including this request): �
F. Applicant Cash $ 6,000
G. Grant Amount Requested $1'75[]
(in this application)
H. Total Cash Income (must
equal Total Cash Expenses $26,450
Item G above)
20l7Grossmok Flog romG,onO.Application Pot ko| 6
onnunign Envelope ID: 11osnoEn-2AoF-4onA-9nCn-3eeoro4Aons4
PART 3: APPLICATION CHECKLIST
� � �� . � �.� .�� . ��.�. .. .����
APPLICATION CHECKLIST
Please compile in this order. Do not staple, bind, or put into individual folders or sleeves. Provide one copy,
one sided, fl5 x 11 white paper. A digital copy of the application /sOot necessary.
O Application Form, including signatures
[] Narrative
[] Detailed Budget(if necessary)
[] Resumes of key artists and administrators involved in grant funded program(s)
O Income and Expense statement for FY15-1G
[] Budget or year-to-date statement for FYI 6-17
[] Budget for FY17-18
O Current Board of Directors' list
[] Copy of IRS Tax Exemption Letter, if applicable
O Sample pnoQnamo, pnasa, or other materials from this or similar past programs
[] Work samples by artist(s), labeled with artists' name, title of work, date of work, produced in the last three years:
o Visual artists: CD. DVD, or high resolution photographs (8 images per artist MAX), clearly labeled with
dimensions and media and indicate top of image
o Dance or theater artist: CD or DVD, or link to high-quality online video (3-5 minutes)
o Music and spoken word: CD . MP3 or link to high-quality online video (3-5 minutes)
o Literary arts: Manuscript(10-15 pages) submitted as .pdf file or hard copy
PART 4: CERTIFICATION
We understand that failure to respond to any of the above items may adversely affect the consideration of this application.
We certify that we are committed to the completion of the proposed project in compliance with legal requirements and
granting procedures.We certify that the information contained in this application, including attachments and supporting
materials, is true and correct to the best of our knowledge.
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(if �� '
Printed or typed name:
Signature:
Date:
AUTHORIZING OFFICIAL(required)
Printed or typed name: Elizabeth Woodman
Signature:
Date: 1 � ^ ����� ,0, 91/ -
DocuSign Envelope ID: 11DE62E5-2A6F-405A-95C6-39BD794A60E4
Hidden Hillsborough: A community publishing project
PROJECT SUMMARY
This Fall (2017), Eno Publishers will introduce Hidden Hillsborough: Historic
Dependencies and Landscapes in a Small Southern Town, a four-color book. The 228-page
volume will be filled with beautiful photographs by noted Hillsborough photographer
Elizabeth Matheson, as well as maps and essays by a dozen local citizens.
Years in the making, the project began out of curiousity about mysterious elements
around town: for example, a structure in someone's backyard, stone steps that don't
seem to lead anywhere, berms along certain Hillsborough streets that serve no
apparent purpose, and other unusual features. A committee was formed under the
auspices of the Preservation Fund of Hillsborough to investigate. With a lot of
research and interviewing and the superb photo-documentary by Elizabeth Matheson,
the committee is sharing its findings.
For the last eight months, Eno has joined forces with the Preservation committee
to help shape the project into a book. Now at press, the book reveals the purpose of
the features mentioned above, as well as many others, telling their story and the story
of Hillsborough. Photographed and documented are such topics as the town's street
system, remnants of early sidewalks, gardens, well houses, spring houses, outdoor
kitchens, barns, icehouses, offices, necessaries, slave houses, and educational
institutions.
As Callie Connor notes in her fine introductory and concluding notes, ". . . seeing
historic Hillsborough today implies a task for both the eye and the imagination." The
illuminating material in Hidden Hillsborough enables us to do just that. As writer Lee
Smith says on the back cover, the book allows us ". . . to see and imagine--bringing
the past brilliantly to life."
The book will be available in hard cover ($40) and soft cover ($27.50). We are
printing 250 copies of the hard cover; 500 copies of the soft cover.
Eno Publishers is planning a regional marketing program for Hidden Hillsborough
that in many respects will parallel what we typically do for a book: press releases,
review copies to key media, book signings, events, and a social media campaign. We
also have a unique opportunity to promote the town and the book by featuring some
of the beautiful images created by Elizabeth Matheson.
We would like to create three enlargements of images from Hidden Hillsborough that
would be printed in vinyl and stretched over a frame to easily display on easels at
events. These would be of lasting quality and could be permanently displayed at the
Orange County Public Library or another County building, giving generations to
come a chance to observe historic elements of our landscape as interpreted by a noted
contemporary photographer.
Eno Publishers: Hidden Hillsborough 1
DocuSign Envelope ID: 11DE62E5-2A6F-405A-95C6-39BD794A60E4
In addition, Eno plans to have two posters available to publicize the book--one of
the book's front cover and one of a photo with a quote from the book. Both posters
would be mounted and would be made available free of charge to booksellers in the
area or interested institutions. We plan to do 10 of each poster.
PROJECT GOALS
Quite simply, we hope to get the book and its excellent information and
documentary art in the hands of as many local residents as possible. We will use our
OCAC Grassroots grant to do that by pursuing the marketing program outlined
above.
OUR AUDIENCE & LOCATION INFORMATION
Hidden Hillsborough will appeal to town and county residents of all ages and
ethnicities. From pedestrians to preservationists, from students to seniors, the book
will offer a glimpse of our shared contemporary community and shared past.
Beyond our border, the book should have appeal to people interested in historical
towns, Southern towns, and preservation. We anticipate interest from throughout
North Carolina and the Southeast.
We hope to attract people with a keen interest in the historic references in our
contemporary world by publicizing and encouraging attendance at a series of events at
the public libraries throughout the county, bookstores, as well as a Friends of the
Library event at the University of North Carolina and the North Carolina Museum of
History.
The launch for the book will be held at the Burwell School in Hillsborough in
October, with more than 100 people expected to attend. We are making a concerted
effort to appeal to a diverse community for the book events, contacting historic
African-American church congregations and institutions.
Complimentary copies of the book will be sent to key officials in the community.
ARTISTS & WRITERS
Hidden Hillsborough is an excellent example of a collaborative effort at its best. The
book is the work of a number of dedicated volunteers:
• A native of Hillsborough, North Carolina, Elkabeth Matheson earned her BA
from Sweet Briar College and later studied at the Penland School of Crafts with
John Menapace.One-person exhibitions of her work include Hollins University,
the Virginia Polytechnic Institute, the North Carolina Museum of Art, Duke
University, Green Hill Center for North Carolina Art, Western Carolina
University, the National Humanities Center, and the Gregg Museum at North
Carolina State University. Her work is in the collections of Duke University,
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the Ackland Museum, the North Carolina Museum of Art, among many others.
Among her publications are To See, poems by Michael Mc Fee, North Carolina
Wesleyan Press, 1991; Blithe Air. Photographs of England, Wales, and Ireland,
Jargon Society, 1995; and Shell Castle, Portrait of a North Carolina House, Safe
Harbor Books, 2008. In 2004, she was awarded the North Carolina Award for
Excellence in the Arts, the state's highest civilian honor.
• The maps are the work of Stewart E. Dunaway, a retired vice president of
Siemens Telecom, who has resided in Orange County for the past fifteen years.
He is a researcher in North Carolina colonial and Revolutionary War history;
he photographs and transcribes original records from the State Archives
(Raleigh), then publishes these records in book form. Among his 203 titles are
Hillsborough, N C: History of Town Lots (2012); Chapel Hill, N.C: History of Town
Lots (1790-1930's) (2014); Hillsborough, N.C.: Hi slog of Town Lots,An Addendum
(2015); Claude J. S authier and His Maps of North Carolina (2016). He is a board
member of the Friends of the State Archives.
The following authors wrote essays that accompany the photos and maps:
• Jean B. Anderson received her MA in English at the University of
Pennsylvania, where she worked as an instructor. She also taught at Duke
University and Duke Divinity School; she later worked as genealogist and then
as a contract researcher in the Historic Sites section of the North Carolina
Division of Archives and History. She has published over a dozen articles on
topics in North Carolina history, industry, and genealogy. Her books include
Piedmont Plantation: The Bennehan-Cameron Family and Lands in North Carolina
(1985; repr. 2002); Durham County: The History of Durham County, North Carolina
(1990); The Kirklands of Ayr Mount(1991), among others. She received the 1986
Mary Claire Engstrom Award for Distinguished Service.
• Callie Connor has lived in Hillsborough for twenty-two years, and is Professor
Emerita of Classics at the University of North Carolina at Chapel Hill. She has
published extensively in her field of Byzantine Studies, her most recent book
being Saints and Spectacle: BRantine Mosaics in Their Cultural Setting (2016). Locally,
she has served on the Historic District Commission (Chapel Hill), Historic
Preservation Commission (Orange County), Historic Hillsborough
Commission, Orange County Cultural Center, and Preservation Fund of
Hillsborough (secretary).
• The late Craufurd D. Goodwin was James B. Duke Professor of Economics
Emeritus at Duke University, where he served as department chair, vice
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DocuSign Envelope ID: 11DE62E5-2A6F-405A-95C6-39BD794A60E4
provost, and dean of the graduate school. He was director of the European and
International Affairs Program at the Ford Foundation (1971-77) and received a
Guggenheim Fellowship and a Smuts Fellowship at Cambridge University. The
author of over eighty articles and book chapters, he was the author of eleven
books and editor of nine more.
• Barbara Hume, a resident of Hillsborough for the last twenty-six years, earned
her MAH from the University of Virginia School of Architecture,
Charlottesville. She worked in historic architecture preservation for twenty-six
years, during which she first directed the State Historic Preservation Office's
National Register program and later was in charge of the Historic Architecture
Section of the NC Department of Transportation. That section produced parts
of environmental impact statements and ensured compliance with relevant laws
and regulations. She has published a number of articles on historic architecture.
She has served on the Hillsborough Historic District Commission and
currently is on the board of directors of the Hillsborough Preservation Fund.
• Pip Merrick, a thirty-year resident of Hillsborough, earned her BM in music
theory from Manhattan School of Music and her MS and PhD in cell biology
from New York University. She came to UNC Medical School for a post-
graduate fellowship in burn surgery, then served as an instructor of physiology
and comparative anatomy in the UNC Biology Department. She has served on
the Hillsborough Planning Board, Arts Council, Tree Board, and the Affiance
for Historic Hillsborough.
• Jim Parsley is a Hillsborough native who moved away to pursue an engineering
education at Duke University, followed by a thirty-seven-year career with
Procter & Gamble, where he held five jobs in four different states. He and his
wife moved back to Hillsborough in 2003 and contribute in many ways to the
community. He participates in activities and groups at St. Matthew's Episcopal
Church, and maintains a keen interest in local history and historic preservation.
• Mary Ann Peter earned a PhD in education from the University of North
Carolina at Chapel Hill and BS and MS degrees in nursing from Duke
University. She was on the faculty at UNC-Chapel Hill School of Nursing for
ten years and held a variety of positions in nursing at Duke University Hospital
for twenty-five years, including that of director of nursing. She received
numerous awards and honors during her nursing career, wrote a number of
articles in professional journals, and holds a patent for a medical device. She
was chair of the board of trustees of Durham Technical Community College
for eight years.
Eno Publishers: Hidden Hillsborough 4
DocuSign Envelope ID: 11DE62E5-2A6F-405A-95C6-39BD794A60E4
• Ellen C. Weig has lived in Hillsborough for the past twelve years and has been
a parish historian for St. Matthew's Episcopal Church. Her research focuses on
the stained glass windows and churchyard, and women of the church. She
recently moved to Wilmington, North Carolina, where she is the archivist and
historian for St. Paul's Episcopal Church. She is a retired child life specialist,
with a master's degree in early childhood education, specializing in the
hospitalized child, from Worcester State College.
The authors and artists are Caucasian, and volunteered for the project. They each will
receive several free copies of the book and are not receiving additional compensation.
PROJECT PUBLICITY
The publicity for Hidden Hillsborough is outlined above. Eno has extensive media
contact lists and will send press releases to media outlets about the book itself and
about events. In addition,we have an active social media calendar and will post about
Hidden Hillsborough and related events on Facebook, Twitter, and Instagram, as well as
on our own website, www.enopublishers.org.
We also will use the posters of the book cover and image/quotes to serve as a
visual cue in various venues.
PROJECT EVALUATION
Publishing has a very tangible technique for evaluating the success of a project book
sales. We carefully track sales and online reviews and work to support those sales by
providing promotional information (posters, bookmarks, event, publicity) to our
booksellers.
There are also attendance goals that we set and track for Eno events. In the most
basic terms, if the books sell well, we have succeeded.
For a community project such as Hidden Hillsborough there are also less tangible
ways to evaluate the effectiveness of a publishing program. Community engagement
comes in many forms: lectures, author and artist contacts, kickstarting other projects
and further research. We hope Hidden Hillsborough will be the beginning of a long
conversation about how a town evolves and remains aware of its past.
Eno Publishers: Hidden Hillsborough 5
onnunign Envelope ID: 11osnoEn-2AoF-4onA-9nCn-3eeoro4Aons4
E U U _a bet`. Woodman
121 N WAKE STREET, H|LLSB0ROUGH, NC 27278 EL|ZABETHKyENOPUBL|SHERS.ORG
919.032.0893
Professional Experience
FOUNDER & EXECUTIVE DIRECTOR, ENO PUBLISHERS, 2007 TO PRESENT
Founder and editor/publisher of award-winning Eno Publishers, a nonprofit, regional publishing pro-
gram. Work with board of directors to acquire and develop books that advance the organization's
mission. Recruit authors. Responsible for all aspects of editorial and production of books. Manage
bookkeeping and financial reports. Responsible for fund-raising and grant-writing. Work with mar-
keting ondua|oaoontraotorntopub|icizeanduo|| bnnko. Participotninbookc|ubgroupo. fund-raio-
ing events, publishing-related panels and roundtables, media interviews.
CO-FOUNDER & EDITORIAL DIRECTOR,VENTANA PRESS, 1986- 1997
Established and led an independent book publishing company that specialized in readable, highly
accessible Internet-related, graphic arts, and science technology books. Developed and managed a
smaller list of travel and general interest books. Managed editorial and production departments that
published 80 books a year. (Company acquired by Thomson Publishing in 1996.)
BOOK EDITOR, 1997 - 2007
Edited books and online magazines for various publishers, including Seal Press, John F Blair Pub-
lishers, Crane Hill, nnydei|yhma|th.conn.
CONTRIBUTING WRITER, ONGOING
Articles and essays have appeared in Salon.com, Los Angles Times, News & Observer(Raleigh),
8oettloPbot-/nbs@genoeC San Francisco Examiner, Travel& Leisure, San Francisco Bay Guardian,
San Francisco Focus Magazine, and other print and online publications.
Community Experience
Board of Directors, Friends of the Library, University of North Carolina Libraries, 2012 -
Hillsborough Poet Laureate Selection Committee, 2016
Advisory Bouvd, University of North Carolina Publishing Institute, 1992-96
Board of Directors, Publishers Association of the South, 1994 37
Recipient, Special Renognition, Entrepreneurial Achievement, Council for Entrepreneurial Deve|opment, 1995.
Member, Planning Board,Town of Hillsborough, NC 2007-2014
Member, Hillsborough Tourism Board, Hi||obomugh, NC 2007 2014
Board Chair, 2012 - 13
Board of Trustees, Peace CoUege, Ro|oigh, NC 2005 -08
Board of Trustees, Carolina Friends School, Durham, NC 2008 VO
Board of Commissioners, Historic Hillsborough Commission (Burwell School), 2001 06
Board Chair, 2002 -04
Board of Directors, Preservation Fund of Hillsborough, 1988 2006
onnunign Envelope ID: 11osnoEn-2AoF-4onA-9nCn-3eeoro4Aons4
Education
mills College, Oakland,CA, 1Q74. B�\cum laude
University of California 1977
Duke University, Masters of Liberal Studies program 1998 2001
DocuSign Envelope ID: 11DE62E5-2A6F-405A-95C6-39BD794A60E4
ENO Income & Expenses: 2015/16
Income
Gov't Grants 5,000
Foundations 3,400
Individual Contributions 2,875
In-kind Support 1,500
Book Sales/ebook Sales 13,717
TOTAL 26,492
Expenses
Salaries deferred
Insurance & benefits deferred
Consulting & Professional fees
Marketing 2,320
Design & Production 4,760
Authors' fees 4,000
Accounting 950
Printing books 6,250
Printing--marketing 950
Book--other 642
Travel & Meals 220
Equipment 2,950
Supplies 585
Rent & Utilities 1,721
Postage & Delivery 1,144
TOTAL 26,492
DocuSign Envelope ID: 11DE62E5-2A6F-405A-95C6-39BD794A60E4
ENO Organizational Budget 2016/17
Income
Gov't Grants 7,500
Foundations 16,000
Individual Contributions
In-kind Support 8,000
Book Sales/ebook Sales 16,400
TOTAL 47,900
Expenses
Salaries deferred
Insurance & benefits deferred
Consulting & Professional fees
Marketing 3,500
Design & Production 21,150
Authors'fees 4,200
Accounting 950
Printing books 9,300
Printing--marketing 1,080
Book--other 500
Travel & Meals 400
Equipment 170
Supplies 650
Rent& Utilities 1,800
Postage & Delivery 900
TOTAL 44,600
DocuSign Envelope ID: 11DE62E5-2A6F-405A-95C6-39BD794A60E4
ENO Organizational Budget 2017/18
Income
Gov't Grants 1,750
Foundations 3,800
Individual Contributions 3,000
In-kind Support 8,000
Book Sales/ebook Sales 17,500
TOTAL 34,050
Expenses
Salaries deferred
Insurance & benefits deferred
Consulting & Professional fees
Marketing 4,650
Design & Production 3,700
Authors' fees 7,100
Accounting 950
Printing books 5,250
Printing--marketing 2,200
Book--other 500
Travel & Meals 220
Equipment 700
Supplies 625
Rent & Utilities 1,800
Postage & Delivery 1,200
TOTAL 28,895
DocuSign Envelope ID: 11DE62E5-2A6F-405A-95C6-39BD794A60E4
Eno Publishers Board of Directors 2017
Brenda Stephens 2017 5807 Craig Road
Durham NC 27712
booklady52@msn.com
919-309-0919
Retired Director,Orange County Public Libraries
David McCullough 2019 123 E. Union Street
Hillsborough,NC 27278
mcclughh@aol.com
919-732-7184
Retired senior executive Book-of-the-Month Club&author
Randall Kenan 2021 313 Greenlaw Hall
University of North Carolina
Chapel Hill,NC 27599
rkenan@email.unc.edu
919-923-3675
Novelist,scholar,Professor of English, UNC,Chapel Hill
John Bemis 2017 125 Tuscarora Dr.
Hillsborough,NC 27278
john@johnclaudebemis.com
[phone not available]
Novelist,former educator,Orange Co. Public Schools
Peggy Myers 2017 105 Fallen Log
Chapel Hill NC 27516
mcmyers.nc@gmail.com
919-967-9767
Former director of Library Development,UNC-Chapel Hill Libraries,
now with UNC Development Office
Katherine Kopp 2018 501 E. Rosemary St.,
Chapel Hill,NC 27514
kkopp3@gmail.com
919.741.9444
Editor,writer,development communications writer,real estate broker
David Perry 2018 407 Robert Hunt Drive,
Carrboro,NC 27510
Perrythechief@gmail.com
919-962-0482
Retired Editor-in-Chief,UNC Press
1
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Steven Petrow 2018 144 N.Wake St.,
Hillsborough,NC 27278
petrow@bluedahlia.net
919-619-9830
Author, Washington Postcolumnist
Adrienne Fox 2018 2256 Cranford Road,
Durham,NC 27705
afox6@nc.rr.com
919-478-7013
Attorney,Retired Professor of Law NCCU,writer
Gita Schonfeld 2019 2500 Alpine Road
Durham,NC 27707
gita.schonfeld@gmail.com
919-489-0733
Former publisher, Carolina Parent;former Marketing Director,Eno
2
DocuSign Envelope ID: 11DE62E5-2A6F-405A-95C6-39BD794A60E4
Eno Publishers Staff-,oz7
Elizabeth Woodman Founder,Publisher
elizabeth@enopublishers.org
P.O.Box 158
Hillsborough,NC 27278
gig-632-6893
Laura Lacy Marketing Manager
lauralacypenopublishers.org
P.O.Box 158
Hillsborough,NC 27278
865-924-743
DocuSign Envelope ID: 11DE62E5-2A6F-405A-95C6-39BD794A60E4
INTERNAL REVENUE SERVICE
DEPARTMENT OF THE TREASURY
P. 0. BOX 2508
CINCINNATI, OH 45201
Date: JUL 24 2008 Employer Identification Number:
DLN:
ENO PUBLISHERS 17053074355018
C/O KENNON CRAVER BELO CRAIG & MCKEE Contact Person:
J ALAN CAMPBELL PETER A ORLETT ID# 31436
PO BOX 51579 Contact Telephone Number:
DURHAM, NC 27717-1579 (877) 829-5500
Accounting Period Ending:
June 30
Public Charity Status :
509 (a) (2)
Form 990 Requixed:
Yes
Effective Date of Exemption:
July 1, 2007
Contribution Deductibility:
Yes
Advance Ruling Ending Date:
June 30, 2012
Addendum Applies:
No
Dear Applicant :
We are pleased to inform you that upon review of your application for tax
exempt status we have determined that you are exempt from Federal income tax
under section 501 (c) (3) of the Internal Revenue Code. Contributions to you are
deductible under section 170 of the Code. You are also qualified to receive
tax deductible bequests, devises, transfers or gifts under section 2055, 2106
or 2522 of the Code. Because this letter could help resolve any questions
regarding your exempt status, you should keep it in your permanent records.
Organizations exempt under section 501 (c) (3) of the Code are further classified
as either public charities or private foundations. During your advance ruling
period, you will be treated as a public charity. Your advance ruling period
begins with the effective date of your exemption and ends with advance ruling
ending date shown in the heading of the letter.
Shortly before the end of your advance ruling period, we will send you Form
8734, Support Schedule for Advance Ruling Period. You will have 90 days after
the end of your advance ruling period to return the completed form. We will
then notify you, in writing, about your public charity status.
Please see enclosed Publication 4221-PC, Compliance Guide for 501 (c) (3) Public
Charities, for some helpful information about your responsibilities as an
exempt organization.
Letter 1045 (DO/CG)
DocuSign Envelope ID: 11DE62E5-2A6F-405A-95C6-39BD794A60E4
_
-Z-
ENO PUBLISHERS
We have sent a copy of this letter to your representative as indicated in your
power of attorney.
Sincerely,
"1"1111 lb"
- ,, limirlimpw- OP 0
-
Robert Choi
Director, Exempt Organizations
Rulings and Agreements
Enclosures: Publication 4221-PC
Statute Extension
Letter 1045 (DO/CG)
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Prhs Elizabeth Matheson
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DocuSign Envelope ID: 11 DE62E5-2A6F-405A-95C6-39BD794A60E4
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List of Maps f xi f Springs and Spring Houses, io Offices and Law Offices
Maps, Stewart E.Dunaway f xii Wells and Well Houses Craufurd D. Goodwin/ 123 0
Preface, Callie Connor f xxiii Mary Ann Peter/48
Introduction,Barbara Hume s Schools and School-Related Buildings D
= Barns Callie Connor f 133 °
-, m
T An Evolving Townscape: Jean B.Anderson f 59
a� Cemeteries
The Location and Early Other Dependencies Ellen C. Reig and Pip Merrick f 143
Importance of Hillsborough Icehouses:Stewart E.Dunaway
Barbara Flume and Stewart E.Dunaway f 5 Dining Rooms:Barbara Hume Conclusion
Historic Kitchens Laundries Barbara Hume Callie Connor f 170
Callie Connor 1g Necessary Houses:Jim Parsley 7b
Notes/ 175
Slave Houses Trees and Gardens Selected Bibliography f 185
Jean B.Anderson f 33 Callie Connor f gz List of Contributors f 187
Index f 189
Smokehouses On the Streets
Jim Parsley f 9.3 Stewart E.Dunaway f 104
ix
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he term hidden in the title of this book is to be understood both literally and figura- n
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Ttively, for seeing Hillsborough today implies a task for both the eyes and the imag- W
0
ination. Behind the gracious houses and their thick hedges, sometimes partially obscured
j by trees—often altogether invisible and inaccessible to a visitor or, in some cases, right in
0
plain sight—are signs of a past that evoke the intimate story of a small Southern town and
j its life and people a century and a half, or two, or three, ago.
In Hidden Hillsborough we seek to understand and interpret the secondary buildings, or
dependencies, that dot the townscape seemingly randomly, preserved here and there along
the streets or in backyards. The book also calls attention to various types of landscape
features that appear in our peripheral vision, but are difficult to explain or are taken for
granted, and therefore usually ignored. Hidden Hillsborough hopes to guide the reader to a
jway of seeing these traces of the historic town in a fuller sense, including and beyond the
visual,in a perception of what is present today,but whose implications are not immediately
apparent—things barely observed and easily overlooked.
THE GENESIS OF Hidden Hillsborough dates to a zou board meeting of the Preservation Fund
j of Hillsborough at which a committee was formed of some of its members and volunteers
to research and catalog the dependencies and landscape elements of the town environment
that we live with daily.Among these are the historic kitchens, offices, school-related build-
ings, well houses and spring houses, smokehouses,barns, and slave houses, and, yes, neces-
sary houses for privies).Alongside them, scattered along the quiet streets, are aspects of the
terrain whose origin and function have been somewhat of a mystery: stone walls that start
xxiii
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and stop abruptly, stone steps and curbs in strange places, rolling berms, receding paths,
whispers of past gardens,silent gravestones,and ancient,sidewalk-heaving shade trees.These o
do not immediately carry meaning for most of us.How could they?For how could the pass- m
0
erby possibly sense that those carefully formed berms once supported flagstone sidewalks
that kept the long,rustling skirts worn by nineteenth-century ladies away from the muddy, m
unpaved streets?Sidewalks were just one of the features that rendered this an exceptionally m
sophisticated and well-appointed town. D
The mission of the Hidden Hillsborough Committee was to record the persistent pres- T
ence of these easily overlooked buildings and features, along with their historic resonance D
and rationale. This book is our modest attempt to give them a voice as to the kind of life Q0
n
they witnessed and the very different rhythm and pace of the times for which they were
created.Our wish to let the past speak for itself was,in part,to encourage the preservation o
of these precious testimonials, as so many were in danger of slipping into decay or being
cast aside for new, more modern materials or tastes or simple necessities such as concrete o
sidewalks or sewer lines.The rest was sheer curiosity: We wanted to know more about our
historic town.
Four years later,the committee had photographed,researched, and mapped as many of
these town features as possible.We confined our inquiry to the National Register Historic
District along with the adjacent National Register properties on the immediate outskirts
of town. Our timeframe was set generally from between 1754,when the town was founded,
and World War L As it happens with some happy collaborative endeavors, the committee
realized that it was now looking at a story whose richness and historic value added up to
more than the sum of its parts,and that the results of the project had indeed developed into
a coherent record.
IF THE TRUTH be told,this study could not have happened without the responses of prop-
erty owners—thereby avoiding embarrassing confessions and apologies, remorseful admis-
sions that zealous committee members had been peeping in the windows of their neighbors'
outbuildings and over their back fences in search of data.How shocking! This could never
happen in Hillsborough! But in fact, homeowners warmly complied with our requests for
access,in order to study,measure,or photograph features of their properties.They unlocked
their gates and opened the creaking doors on their little buildings—and their barns,
I
XXIV HIDDEN HILLSBOROUGH
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too—to the researchers, and even produced deeds and other records to substantiate dating
and agency. This outpouring of goodwill was galvanizing and inspiring to the committee, o
effectively turning the project into a joint venture,a palpable form of active engagement with m
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the community.
Other felicitous forms of collaboration developed among the twelve Hidden Hills- m
borough Committee members themselves, who naturally came from diverse backgrounds M
and training. The immense talents of two in particular must be mentioned here.Elizabeth D
Matheson, a widely published and admired photographer, volunteered on the first day to T
do the photography for the project. Just like that! Soon after, Stewart Dunaway, who had D
recently completed the first of his books, Hillsborough, NC History of the Town Lots, came on
Ln
board as our historian-mapmaker.Working as a team,committee members thus correlated w
rn
their individual essay subjects with the needed documentation in the form of maps and o
photographs of the town.
The committee met monthly around the conference table in the Cooke-Lawrence Room o
at St. Matthew's Episcopal Church, a peaceful and serious setting, with afternoon light
streaming across the table through the ancient trees in the adjoining cemetery. The meet-
ings generated their own energy as the volunteers brainstormed and problem-solved while
individually pursuing their own chosen essay topics. Categories were shuffled and redefined
as the project clarified in its scope, structure, and purpose, and gradually took shape as a
publication that might serve the community in a number of ways. The distinct voices and
interests of individual authors are evident within the collaborative process.
i
SEVERAL OTHER BOOKS with similar goals served as models along the way:John Allen's
I
Uncommon Vernacular: The Early Houses of Jfferson County, West Virginia was a lofty example of
expert photo-documentation of an historic landscape.John Michael Vlach's Back of the Big
House: The Architecture of Plantation Slavery was of particular value for its treatment of dependen-
cies as separate categories of buildings worthy of interpretation.
Eno Publishers' 27 Views of Hillsborough, with its forays into the exceptional literary
resources of the town,offers a complimentary perspective to this book in its evocative stories
and fascinating rambles penned by local authors.Hidden Hillsborough,however,offers glimpses
and insights into the quirky physical makeup of the town with its disproportionately large
number of secondary buildings, seemingly untouched by time, views captured in literary
I
PREFACE XXV
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sources of the banal and everyday aspects and rhythms of daily life in the past—combined M
with the presence of some extraordinary figures in the state's history—while simultaneously o
demonstrating the startling fact of the preservation of so much tangible evidence. Such m
6
features as this book explores were already cited years ago by the historian Mary Claire Eng-
strom as fodder for research,and so we in a sense picked up where she left off. °m
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Finally,Holden Hillsborough echoes a small book by Elizabeth Matheson and Eton Eide- m
met entitled Sense of Place.a Hillsbormigb Memoir(iggi),with its timeless images and lyrical voices D
from the past. Alongside these,we hope our work will prove an informative,beautiful, and T
P,
lasting companion as well as a gentle incentive to preserve our history. D
Q0
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—Callie Connor for the Hidden Hillsborough Committee n
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of the Preservation Fund of Hillsborough W
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January zo16
Hillsborough,North Carolina o
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XXVI HIDDEN HILLSBOROUGH
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Slave Houses °m
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BY JEAN B. ANDERSON D
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lave houses make up a small minority of the historic structures still surviving in Hills-
borough,but they fill a very important role in American history(see Map 7).They give o
voice to those who had no voice, enslaved African Americans.The houses relate to the tra-
ditions, music, food, language, and arts that have only recently been incorporated into our
written histories,our museums, and our national heritage.These houses can evoke a variety
of reactions: regret, perhaps shame, for the system of slavery that is mirrored in their exis-
tence; empathy with the people who lived in them; curiosity about the homes of ancestors
and of the past generally.
Because North Carolina was primarily settled by yeomen farmers,only a third of fami-
lies in our state owned slaves;thus fewer slave houses were built than other outbuildings—
and fewer remain. In Hillsborough and vicinity, four have been identified, but others are
possibly encased within other houses,unrecognized,and their origins lost.It is not surpris-
ing that Hillsborough's remaining slave houses are found mostly on the outskirts of town.
Those that were once in town probably stood on lots separated from the main houses they
served. After the Civil War, when the structures were no longer occupied, the lots they sat
on,which had become too valuable to hold,were sold off,the old buildings were then either
destroyed or repurposed and new houses constructed on them. Consequently it is on the
estates and small plantations outside the town limits,on land less valuable,that the remain-
ing examples are more likely to be found.
At Burnside, the once-seventy-acre homestead of Paul Carrington Cameron (i8o8-91),
33
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Figure j.t \\ a
Burnside Coach-
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34
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there is the Coachman's House, a house for the estate's groomsman. This dwelling appar-
ently was bulk in conjunction with the nearby stable. Formerly a ruin, the Coachman's 0
House,like the stable,has recently been restored by its owners(Figure 3.1)I m
0
In the same style as the barn,the Coachman's House was built of brick laid in the Amer-
ican bond pattern of three stretcher rows to one header row.Experts who have examined it m
ro
think it was built about the same time as the stable—in the late 1850s.It has a single room M
measuring approximately eighteen feet square on the exterior, with a rebuilt chimney and D
hearth. That size, incidentally, is close to that of the rooms in the slave cabins that Paul T
Cameron built at Stagville, the nucleus of his vast plantation complex, at about the same D
time. LCnn
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The little building's roof was gone and the tops of the walls were missing when the cur-
rent owners decided to restore it;therefore the walls'height and the shape of the roof had to 0
be guessed at in the reconstruction.Today it has a pyramidal roof, a common shape of cap
for antebellum small outbuildings,and is covered in tin. rn
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The building's most notable feature are two bricks with markings obviously etched
into them with difficulty and discernible as 5 Dec. [18]65.It is thought that the occupant was
recording a date very important to him.A shrewd guess has identified that date with the rati-
fication of the Thirteenth Amendment to the United States Constitution by North Carolina
on 4 December 1865.It was the amendment that abolished slaver Y.2
Another common style of slave house, a duplex, can be found on a tract of land on the
north side of St. Mary's Road close to Cameron Park Elementary School. It stands some-
what at a distance and slightly to the west side of the Mangum-Ruffin House on the same
tract (Figure 3.z). Each of the two rooms would have housed a slave family, but not many
years ago the brick structure was rehabilitated, added onto, and converted to a single-family
dwelling. Originally it was identical to the old kitchen that stands directly behind the Vic-
torian dwelling. Both kitchen and slave house are built of the same kind of brick laid in an
American bond pattern. The dimensions of both were originally the same, about sixteen
by thirty-two feet,two rooms wide and one deep,with a chimney placed slightly off center
between them.
Each room had its own door,opening to a small, covered porch,which extended across
the fronts of both buildings.The former slave house now lacks its porch.Each room has a
window of nine panes over nine flanking the doors.Although the slave house's low-pitched
SLAVE HOUSES 35
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roof is now covered by modern shingles, originally it would have had either cedar shingles
or a standing-seam tin roof like that on the old smokehouse standing beside the kitchen.As 0
with the kitchen porch,the slave house porch would have had an engaged roof supported by m
0
four plain wooden square posts.
These two buildings and the smokehouse were clearly all built at the same time,proba- m
bly in the 1840s during the tract's ownership by Priestly Mangum(ca.1795-1850),a prominent M
lawyer, county solicitor, and younger brother of Sen.Willie P.Mangum. Priestly Mangum D
lived on this tract of land from 1824 until his death.3 Thomas R. Cain (1831-82), who suc- T
ceeded Mangum as owner and lived there even after the junior Thomas Ruffins moved in D
with him in 1870, could also have built the brick outbuildings. However, the earlier date is n
the more likely
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A third known slave house, also a duplex, still exists at Sans Souci, just outside town o
limits(Figure 3.3).Situated behind and to the north of the plantation house,this slave house
unlike the other two is built of wood. Each of its two rooms has its own entrance with a o
window beside it,like the slave house on the Mangum-Ruffin property described above.It
stands on a brick foundation with a central chimney.Lacking a porch,a stoop of three steps
provides entry to each door.The roof while now of tin might once have been cedar shingles.
Today the slave house has a shed room built across the back,divided into a very small bath-
room,mudroom,and pullman kitchen to make the house habitable as a modern dwelling It
is now painted white like all the other outbuildings and the main house.
The Sans Souci slave house may date to the ownership of David Yarborough, who
bought the property in 18rz. It is very much of a piece in appearance and age with other
outbuildings on the tract(except for a much later carriage house);but all of them likely date
from the period when William Cain Jr.(1784-1857)owned Sans Souci(1830s-1856).The Cams
acquired Sans Souci from Yarborough, according to Cain's will,but no deed or other docu-
ment gives a date for the deal.Since the Cams sold their house at Burnside to Paul Cameron
in 1834,the year William Cain Jr.'s father died,it seems possible that they moved about that
time. It is almost certain that it was the Cams, wealthy landowners, who added a wing to
the house and made other improvements from the 1840s on.Consequently,it seems probable
that the outbuildings,including the slave house,were part of that improvement effort.
The only slave/servant house remaining in the town historic district stands in a row of
outbuildings behind the early nineteenth-century Ruffin-Roulhac House, now used as the
36 HIDDEN HILLSBOROUGH
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37
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Hillsborough Town Hall. The tract of ten acres they stand on was bought by the town in
1972 and lies between East Corbin,Cameron,East Orange,and Churton streets.At the time 0
of the purchase,all the buildings were in poor condition, and the carriage house unsalvage- m
0
able, but old photographs enabled the town to restore or reconstruct them exactly as they
had been.' M
The former slave house(Figure 3.q.)stands between the law office and the smokehouse. M
It is a one-room building, about fourteen by twelve feet,with a pitched roof and large exte- D
rior chimney on the west side.A miniature hip roof covers the front porch, identical to the T
neighboring law office(see back of book jacket). Beside the door is one small window with D
four panes over four. On the east side is an exterior,narrow staircase leading to a loft door, n
probably not an original feature. On either side of the chimney stack in the loft is a tiny
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four-paned window.The building appears to have been built at the same time as its neigh- o
boring buildings,the whole now forming a very neat and pleasing appearance.
One of the last inhabitants of the slave house was Price Boyd, who was born a slave. o
Boyd is well remembered by older Hillsboroughans as the coachman for the Roulhac family,
descendants of Judge Thomas Ruffin (1787-1870). The RufFins and Roulhacs successively
owned the place from 1866 to 1972."Uncle Price,"as the neighbors called him,was a very old
man when he told them he was twelve years old at the time he was freed.b
The first house on the site had been built by William H.Phillips in 18x3.He sold it in
i8z5 to Francis L. Hawks,the grandson of the architect of Tryon Palace in New Bern,who
probably made improvements;but it was Frances Clark Pollock Connor Blount(later Hill),
owner of the house from 1830 to 1865, who expanded the main house and possibly built the
many outbuildings there today. The problem with this theory is that she owned only two
lots on Orange Street at the corner of Churton Street, and all the outbuildings are now in
a row on adjacent lots to the north. One must conclude either that she built the original
outbuildings,which were later moved to their present location,or that the Ruffins,who later
owned all ten lots in the block,built them where they stand!If the latter was true then the
little house must be called a servant's house,as it postdates slavery.
Two pieces of evidence bear on the subject.An old photograph of Mrs.Hill's house with
a string of outbuildings close beside it proves that there were a number of dependencies on
her lots that could have been moved. In addition, the office in the present row next to the
slave house is said to have been moved from beside her house;hence it is not unreasonable
38 HIDDEN HILLSBOROUGH
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Figure 33 1 Sans Souci slave house. (Photograph by Heather Wagner,zotz. Courtesy,
KC.Department of Cultural Resources,State Historic Preservation Office Image tz)
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smokehouse.
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42