View of the East Front of the President's House, with the Addition of the North and South Porticos
Benjamin Henry Latrobe
This elevation drawing was created by Benjamin Henry Latrobe in 1807. The architectural drawing shows an east view of the White House, with guests entering and departing the house from the proposed North and South Porticos. The North and South Porticos were not part of James Hoban's original 1792 design for the White House. Although this drawing anticipates the prominent use of columns on the North Portico (completed ca. 1829-1820) and South Portico (completed 1824), it does not reflect the appearance of the North and South Porticos as they were constructed.
Holiday Card from President and Mrs. Johnson, 1968
White House Calligraphy Office
This is the illustrated side of a holiday card that was presented to White House Executive Chef Henry Haller from First Lady Lady Bird Johnson and President Lyndon B. Johnson in December 1968. The card features an illustration by Robert Laessig of the South Grounds as seen from the South Portico, with the Jefferson Monument and Washington Monument visible in the distance. The card includes a note from the presidential couple, declaring "appreciation" and "warmest wishes" for "all the years ahead." The Johnson's 1968 holiday card marked both the passing of the holiday season as well as the end of the Johnson administration, with the inauguration of President Richard M. Nixon the following month. To see the full card, see 1128399.
This card is part of a personal collection belonging to Chef Haller. In the position, Haller served five first families and their distinguished guests from 1966-1987.
This drawing of the White House groin vaulting was done by artist Dahl Taylor. The groin vaulting and a support system of arches was originally constructed in the old basement of the Executive Mansion by stonemasons under the supervision of Collen Williamson and Jeremiah Kale. The original vaulting survived until the Harry S. Truman renovation from 1948-1952.
This watercolor by artist George Munger depicts the burned-out shell of the White after it was destroyed by British troops on August 24, 1814. The painting shows the once elegant and imposing house standing alone in the landscape, a vivid reminder of the destruction and that the capital city was still in its infancy. A curious element of the work is the S-curved shape above the near corner of the roof. It is believed to be part of metallic conductor that encircled the roof that functioned as lighting protection system.