Invitation, Underworld Grand Ball & Tableau, 1882
Invitation, Twelfth Night Revellers Ball, 1884
Above & below, invitation, Comus Ball, 1899
Invitation, Comus Ball, French Opera House, Shrove Tuesday, 1898
Invitation, Comus Ball, French Opera House, Shrove Tuesday, 1898
Mardi Gras, 1899
Mardi Gras, French Quarter, between 1880-1900
Mardi Gras, French Quarter, 1896
Rex at Canal and Camp Streets, 1890's
Mardi Gras, foot of Canal Street, 1890's
Invitation, Momus Ball, Opera House, 1885
Boston and Commercial Clubs, Mardi Gras Season, 1898
Invitation, Comus Ball, 1867
Mardi Gras in the 1800's
Mardi Gras, St. Charles Avenue, 1899
The Mardi Gras at New Orleans
An article from the Columbian Exposition, 1893

The Mardi Gras carnival of 1893 was the thirteenth of those fanciful and brilliant creations which
have won for this Southern capital a wide popularity.  Although the number of visitors from other
parts of the country to witness the exercises was not so large this year as usual, the city was filled
with pleasure-seekers and admirers of this delightful custom.

Each season the features of the Mardi Gras are arranged to illustrate different subjects.  In 1882,
"Ancient Egyptian Theology" was represented; in 1883, "The History of France"; in 1884, "Virgil's
Aeneid"; in 1885, "Myths and Worships of China"; in 1886, "Visions of Other Worlds"; in 1887,
"Andersen's Fairy Tales"; in 1888, "Legends of the Middle Ages"; in 1889, "The Hindu Heavens"; in
1890, "Elf Land"; in 1891, "Tales of the Genii", and in 1892, "A Dream of the Vegetable Kingdom."

The scenic pageants presented this year were equal to any previous triumphs of artistic
conception in this line.  Beautiful in execution and admirable in composition, the various ideas so
charmingly illustrated formed a group whose brilliant effect will long be remembered by those so
fortunate as to witness its triumphant march.  New Orleans has reduced the art of preparation of
these gorgeous spectacles to a high degree of perfection, such as could be attained only by years
of careful study of effects and education in artistic forms.  To express sentiment and action in
tableaux of living persons, surrounded by the scenery of the events represented, combines both
the art of the sculptor and the painter.  Dealing with living figures, it appeals to the common
interest far more strongly than anything in the domain of either plastic or pictorial art, and demands
a quality of talent that only experience and dedication can bring.
Invitation to the Rex Ball, 1883
"The King of Carnival arrives on the royal yacht" - 1899