1
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Selections from the Postcard Collection
Description
An account of the resource
The Postcard Collection housed at the John D. Rockefeller Jr. Library consists of postcards of Williamsburg and surrounding areas dating from the late 19th-century to the present. It includes examples of early postcards of the town prior to its restoration by John D. Rockefeller Jr. In addition, it encompasses many examples of official postcards produced by Colonial Williamsburg for tourists. A smaller number of postcards of neighboring historic sites, such as Jamestown and Yorktown, are also present.
The selections included here are primarily vintage postcards of Colonial Williamsburg and surrounding tourist attractions ranging in date from 1898 to the 1950s. Early cards in the collection illustrate a range of common postcard types and reproduction techniques. The history of the postcard's development as a souvenir, as well as the growth of tourism in Williamsburg, can be traced via Colonial Williamsburg's Postcard Collection.
During what is known as the Pioneer Era from 1870-1898, the first form of postcard, featuring an illustration on one side and an undivided back on the other, did not allow the sender to include a note, unless it was written across a portion of the image on the front. The majority of pioneering postcard formats served as advertisements up until the 1893 Columbia Exposition, when postcards first appeared as souvenirs for Exposition visitors to purchase.
The Private Mailing Card Era from 1898-1901 is characterized by cards printed with the notice "Private Mailing Card Authorized by Act of Congress on May 19, 1898." Backs of the cards remained undivided and purchasers could mail the cards for a cost of one cent. Several examples of postcards from this era are present in the collection. They include some of the earliest instances of souvenir cards created to promote Williamsburg historic sites, such as the Courthouse, Bruton Parish Church, the Powder Magazine, and the Capitol site. European rather than American printers created many of these postcards due to their superb skills. Chromo-lithograph cards of this era exhibit extremely rich colors.
By the time the Jamestown Exposition took place in 1907, postcard production had entered the Divided Back Era, which continued until 1915. Modified postcard backs offered a segment on the left side for senders to pen a brief message. Production of cards gradually shifted to more American printers. The Jamestown Exposition provided a strong impetus for promotion of other historic sites that attendees might also stop at along the way. A series of postcards commemorating Williamsburg area historic sites in conjunction with the 1907 celebration are excellent examples of very early divided back cards.
The Early Modern Era between 1916-1930 led to an increase in production of souvenir cards relating to the Williamsburg area. One type of format popular in this period is the "White Border Card" characterized by a view surrounded with a white border. Real photo cards also began to appear that featured photographs, rather than prints, of local surroundings. In the era before Colonial Williamsburg operated official gift shops, tourists counted on the Cole News Shop as their source for maps, postcards, travel guides, and souvenirs. Mr. Henry Dennison Cole served as the proprietor. His business stood on the site of the present day Taliaferro-Cole Shop. He produced his own postcards of historic sites in the area being restored by the Association for the Preservation of Virginia Antiquities and other groups of preservation minded citizens. Several examples of cards published by the Cole Shop can be found in the collection and offer a glimpse of attractions popular with early 20th-century tourists, such as the old Masonic Hall and Custis Kitchen.
Once Colonial Williamsburg opened a core group of exhibition buildings to the public in the early 1930s, a new era dawned in which the museum began production of official postcards as souvenirs for visitors. Photographs by F.S. Lincoln, an architectural photographer hired on a contract basis in 1935 to take some of the first promotional photos of Colonial Williamsburg exhibition buildings, appeared on a number of real photo postcards issued in the late 1930s. Both examples of postcards bearing his photos, as well as his actual photograph collection, reside at the Rockefeller Library.
The Albertype Company of Brooklyn, New York, produced one of the earliest official postcard series highlighting Colonial Williamsburg exhibition buildings, costumed interpreters, Williamsburg Inn and Lodge, and Merchants Square. In addition to holding numerous examples of Albertype cards, the Rockefeller Library also houses the corresponding photographic prints used to generate the postcards. Albertype cards are characterized by sepia toned images that show exterior and interior views of exhibition buildings, as well as some of the earliest scenes of African Americans in costume demonstrating colonial cooking techniques.
For further information about Williamsburg postcards, please consult:
Preacher, Kristopher J. "Williamsburg in Vintage Postcards." Charleston: Arcadia Publishing, 2002.
Reisweber, Kurt. "Williamsburg in Old Post Cards." Colonial Williamsburg XXI, No.2, (June/July 1999): 52-57.
Subject
The topic of the resource
Postcards - Virginia - Williamsburg
Souvenirs (Keepsakes) - Virginia - Williamsburg - Pictorial works
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
Postcard
Physical Dimensions
The actual physical size of the original image.
3.5 x 5.5 inches
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Description
An account of the resource
Postcard, "The Printing Office." Text on verso reads: 'The Printing Office where an eighteenth century hand press is used to turn out printing a was done in Williamsburg, Virginia, 200 years ago.' This postcard depicts the Printing Office when located in the site of today's Prentis Store.
Creator
An entity primarily responsible for making the resource
Colonial Williamsburg Foundation
Publisher
An entity responsible for making the resource available
Curteich-Chicago
Date Created
Date of creation of the resource.
1951
Is Part Of
A related resource in which the described resource is physically or logically included.
Postcard Collection, AV-2004.3, 7.
Format
The file format, physical medium, or dimensions of the resource
jpeg
Type
The nature or genre of the resource
image
Identifier
An unambiguous reference to the resource within a given context
D2021-COPY-1014-0027 R
D2021-COPY-1014-0028 V
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation
Title
A name given to the resource
The Printing Office
Subject
The topic of the resource
Printing Office (Williamsburg, Va.)
Printing industry - Virginia - Williamsburg
Stores & shops - Virginia - Williamsburg
Printers
Date
A point or period of time associated with an event in the lifecycle of the resource
1951
Extent
The size or duration of the resource.
1 postcard
Colonial Williamsburg
Museum Docents
Postcards
Printers
Printing Office
Shop Windows
Signboards
Virginia
Williamsburg
-
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Selections from the Postcard Collection
Description
An account of the resource
The Postcard Collection housed at the John D. Rockefeller Jr. Library consists of postcards of Williamsburg and surrounding areas dating from the late 19th-century to the present. It includes examples of early postcards of the town prior to its restoration by John D. Rockefeller Jr. In addition, it encompasses many examples of official postcards produced by Colonial Williamsburg for tourists. A smaller number of postcards of neighboring historic sites, such as Jamestown and Yorktown, are also present.
The selections included here are primarily vintage postcards of Colonial Williamsburg and surrounding tourist attractions ranging in date from 1898 to the 1950s. Early cards in the collection illustrate a range of common postcard types and reproduction techniques. The history of the postcard's development as a souvenir, as well as the growth of tourism in Williamsburg, can be traced via Colonial Williamsburg's Postcard Collection.
During what is known as the Pioneer Era from 1870-1898, the first form of postcard, featuring an illustration on one side and an undivided back on the other, did not allow the sender to include a note, unless it was written across a portion of the image on the front. The majority of pioneering postcard formats served as advertisements up until the 1893 Columbia Exposition, when postcards first appeared as souvenirs for Exposition visitors to purchase.
The Private Mailing Card Era from 1898-1901 is characterized by cards printed with the notice "Private Mailing Card Authorized by Act of Congress on May 19, 1898." Backs of the cards remained undivided and purchasers could mail the cards for a cost of one cent. Several examples of postcards from this era are present in the collection. They include some of the earliest instances of souvenir cards created to promote Williamsburg historic sites, such as the Courthouse, Bruton Parish Church, the Powder Magazine, and the Capitol site. European rather than American printers created many of these postcards due to their superb skills. Chromo-lithograph cards of this era exhibit extremely rich colors.
By the time the Jamestown Exposition took place in 1907, postcard production had entered the Divided Back Era, which continued until 1915. Modified postcard backs offered a segment on the left side for senders to pen a brief message. Production of cards gradually shifted to more American printers. The Jamestown Exposition provided a strong impetus for promotion of other historic sites that attendees might also stop at along the way. A series of postcards commemorating Williamsburg area historic sites in conjunction with the 1907 celebration are excellent examples of very early divided back cards.
The Early Modern Era between 1916-1930 led to an increase in production of souvenir cards relating to the Williamsburg area. One type of format popular in this period is the "White Border Card" characterized by a view surrounded with a white border. Real photo cards also began to appear that featured photographs, rather than prints, of local surroundings. In the era before Colonial Williamsburg operated official gift shops, tourists counted on the Cole News Shop as their source for maps, postcards, travel guides, and souvenirs. Mr. Henry Dennison Cole served as the proprietor. His business stood on the site of the present day Taliaferro-Cole Shop. He produced his own postcards of historic sites in the area being restored by the Association for the Preservation of Virginia Antiquities and other groups of preservation minded citizens. Several examples of cards published by the Cole Shop can be found in the collection and offer a glimpse of attractions popular with early 20th-century tourists, such as the old Masonic Hall and Custis Kitchen.
Once Colonial Williamsburg opened a core group of exhibition buildings to the public in the early 1930s, a new era dawned in which the museum began production of official postcards as souvenirs for visitors. Photographs by F.S. Lincoln, an architectural photographer hired on a contract basis in 1935 to take some of the first promotional photos of Colonial Williamsburg exhibition buildings, appeared on a number of real photo postcards issued in the late 1930s. Both examples of postcards bearing his photos, as well as his actual photograph collection, reside at the Rockefeller Library.
The Albertype Company of Brooklyn, New York, produced one of the earliest official postcard series highlighting Colonial Williamsburg exhibition buildings, costumed interpreters, Williamsburg Inn and Lodge, and Merchants Square. In addition to holding numerous examples of Albertype cards, the Rockefeller Library also houses the corresponding photographic prints used to generate the postcards. Albertype cards are characterized by sepia toned images that show exterior and interior views of exhibition buildings, as well as some of the earliest scenes of African Americans in costume demonstrating colonial cooking techniques.
For further information about Williamsburg postcards, please consult:
Preacher, Kristopher J. "Williamsburg in Vintage Postcards." Charleston: Arcadia Publishing, 2002.
Reisweber, Kurt. "Williamsburg in Old Post Cards." Colonial Williamsburg XXI, No.2, (June/July 1999): 52-57.
Subject
The topic of the resource
Postcards - Virginia - Williamsburg
Souvenirs (Keepsakes) - Virginia - Williamsburg - Pictorial works
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
Postcard
Physical Dimensions
The actual physical size of the original image.
3.5 x 5.5 inches
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Barber and Peruke Maker's Shop
Description
An account of the resource
Postcard, "Barber and Peruke Maker's Shop, Williamsburg, Virginia," featuring a costumed interpreter smoking a pipe outside the Prentis Store when it housed the Barber and Peruke Maker's Shop,
Caption reads: "Originally an apothecary shop in the early 18th-century, this structure has been restored to its early appearance, and is now furnished as a typical colonial barber and wig maker's establishment."
The composition of this postcard is based upon a photograph taken by Colonial Williamsburg's first staff photographer, Thomas Williams, in 1947 (image # 1947-W-737.) Mr. Sam Helfrich posed as the 18th-century barber sitting outside his shop.
Creator
An entity primarily responsible for making the resource
Colonial Williamsburg, Inc.
Publisher
An entity responsible for making the resource available
Runca Import Co.
Date Created
Date of creation of the resource.
1949
Is Part Of
A related resource in which the described resource is physically or logically included.
Postcard Collection, AV-2000.2.27
Format
The file format, physical medium, or dimensions of the resource
jpeg
Type
The nature or genre of the resource
image
Identifier
An unambiguous reference to the resource within a given context
D2021-COPY-1014-0025 R
D2021-COPY-1014-0026 V
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation
Subject
The topic of the resource
Stores & shops - Virginia - Williamsburg
Wigmakers - Virginia - Williamsburg
Block18-1. Building 05.
Prentis Store (Williamsburg, Va.)
Date
A point or period of time associated with an event in the lifecycle of the resource
1949
Extent
The size or duration of the resource.
1 postcard
Barber & Peruke Maker's Shop
Colonial Williamsburg
Museum Docents
Postcards
Shop Windows
Signboards
Virginia
Williamsburg
-
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ad668d38f02e7f67c4abacb56e24dcea
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Peter Hornbeck Lantern Slide Collection
Subject
The topic of the resource
Lantern slides - Hand-colored - 1930-1940
Hornbeck, Peter - 1936-1998
Williamsburg (Va.)--History.
Architecture, Colonial - Virginia - Williamsburg
Description
An account of the resource
Mr. Peter Hornbeck, a renowned Landscape Architect and Harvard professor, assembled this collection of lantern slides produced between the late 1930s and early 1940s. A graduate of the University of Pennsylvania and the Harvard Graduate School of Design, Peter Hornbeck managed the landscape architecture firm of Hornbeck Associates in North Andover, Massachusetts during the 1950s. He became a faculty member of the Harvard Graduate School of Design in 1963 and taught courses focusing upon historic landscape preservation and city planning.. These lantern slides served as visual aids during lectures he gave about the Williamsburg Restoration and eighteenth-century garden history. The lantern slides encompass a variety of images of Williamsburg available commercially from A.D. Handy, F.S. Lincoln, Eldredge Studio, and the National Geographic Society. They also include some images of historic homes and gardens in other parts of Virginia and in Great Britain.
This collection is significant as a record of how landscape architects were interpreting and presenting eighteenth-century garden history during the 1930s and 1940s. It also provides a visual record of Williamsburg buildings and gardens before, during, and after the restoration work undertaken in the early 1930s. In addition, the collection documents how the Williamsburg Restoration publicized its work through commercial slide sets. For example, Mr. F.S. Lincoln, a New York photographer hired to compile a photographic portfolio of restored Williamsburg buildings for a special issue of the "Architectural Record" in 1935, also created colorized lantern slides of his photos for sale in Williamsburg shops. The Peter Hornbeck Lantern Slide Collection contains numerous examples of these early souvenir images.
A precursor of 35mm slides, lantern slides are large format positive transparencies, usually 3.25 x 4 inches, sandwiched between two pieces of glass. Many were hand-colored. A projector allowed the slides to be viewed on a wall or screen. Instead of automatically advancing from one slide to the next, the lantern slides had to be manually placed into a slot on the projector.
Invented in 1848, lantern slides evolved from those associated with magic lanterns in the late nineteenth-century to the format represented in this collection. Between 1848-1870, oil lamps served as the light source for magic lantern projectors. By the 1890s, the carbon arc lamp offered a better lighting method. The introduction of electricity in the twentieth-century allowed the projection of lantern slides to become common in schools and universities. Lantern slides became obsolete in the 1950s when the Kodachrome three-color process brought about the introduction of 35mm slides.
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
Lantern Slide
Physical Dimensions
The actual physical size of the original image.
3.25 x 4 inches
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Is Part Of
A related resource in which the described resource is physically or logically included.
Peter Hornbeck Lantern Slides Collection, AV-2000.9, Box 2
Format
The file format, physical medium, or dimensions of the resource
jpeg
Type
The nature or genre of the resource
Image
Identifier
An unambiguous reference to the resource within a given context
HLS-83
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation
Title
A name given to the resource
Raleigh Tavern, Williamsburg, Va.
Subject
The topic of the resource
Raleigh Tavern (Williamsburg, Va.)
Block 17. Building 06A.
Taverns (Inns) - Virginia - Williamsburg
Historic buildings - Virginia - Williamsburg
Lincoln, F.S.
Lantern slides - Hand-colored - 1930-1940
Creator
An entity primarily responsible for making the resource
Lincoln, F.S.
Date
A point or period of time associated with an event in the lifecycle of the resource
1935
Description
An account of the resource
A carriage passes the southern façade of the Raleigh Tavern as it proceeds along Duke of Gloucester Street, 1935. The tavern's signboard and a fence stand in the foreground, while the front entrance of the building is visible in the background. A lead bust of Sir Walter Raleigh, the noted navigator-explorer, is featured in the broken pediment above the tavern's front doors. Eighteenth-century spelling was not exact and Raleigh most often wrote his name without the “i”.
The Raleigh Tavern was the frequent scene of both jollity and consequence. Burned to the ground in 1859, the tavern was reconstructed from published illustrations, insurance policies, and archaeology that uncovered most of the original foundations.
Benches
Busts
Carriages
Chimneys
Costumed Interpreters
Dentils
Dormers
Duke of Gloucester Street
F.S. Lincoln
Glass Transparencies
Hitching Posts
Horses
Inns
Lantern Slides
Museum Docents
Ordinaries
Pediments
Peter Hornbeck
Raleigh Tavern
Shutters
Signboards
Sir Walter Raleigh
Stairs
Taverns
Virginia
Williamsburg
-
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2347300dffb66296dbcebed4469ea25c
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Peter Hornbeck Lantern Slide Collection
Subject
The topic of the resource
Lantern slides - Hand-colored - 1930-1940
Hornbeck, Peter - 1936-1998
Williamsburg (Va.)--History.
Architecture, Colonial - Virginia - Williamsburg
Description
An account of the resource
Mr. Peter Hornbeck, a renowned Landscape Architect and Harvard professor, assembled this collection of lantern slides produced between the late 1930s and early 1940s. A graduate of the University of Pennsylvania and the Harvard Graduate School of Design, Peter Hornbeck managed the landscape architecture firm of Hornbeck Associates in North Andover, Massachusetts during the 1950s. He became a faculty member of the Harvard Graduate School of Design in 1963 and taught courses focusing upon historic landscape preservation and city planning.. These lantern slides served as visual aids during lectures he gave about the Williamsburg Restoration and eighteenth-century garden history. The lantern slides encompass a variety of images of Williamsburg available commercially from A.D. Handy, F.S. Lincoln, Eldredge Studio, and the National Geographic Society. They also include some images of historic homes and gardens in other parts of Virginia and in Great Britain.
This collection is significant as a record of how landscape architects were interpreting and presenting eighteenth-century garden history during the 1930s and 1940s. It also provides a visual record of Williamsburg buildings and gardens before, during, and after the restoration work undertaken in the early 1930s. In addition, the collection documents how the Williamsburg Restoration publicized its work through commercial slide sets. For example, Mr. F.S. Lincoln, a New York photographer hired to compile a photographic portfolio of restored Williamsburg buildings for a special issue of the "Architectural Record" in 1935, also created colorized lantern slides of his photos for sale in Williamsburg shops. The Peter Hornbeck Lantern Slide Collection contains numerous examples of these early souvenir images.
A precursor of 35mm slides, lantern slides are large format positive transparencies, usually 3.25 x 4 inches, sandwiched between two pieces of glass. Many were hand-colored. A projector allowed the slides to be viewed on a wall or screen. Instead of automatically advancing from one slide to the next, the lantern slides had to be manually placed into a slot on the projector.
Invented in 1848, lantern slides evolved from those associated with magic lanterns in the late nineteenth-century to the format represented in this collection. Between 1848-1870, oil lamps served as the light source for magic lantern projectors. By the 1890s, the carbon arc lamp offered a better lighting method. The introduction of electricity in the twentieth-century allowed the projection of lantern slides to become common in schools and universities. Lantern slides became obsolete in the 1950s when the Kodachrome three-color process brought about the introduction of 35mm slides.
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
Lantern Slide
Physical Dimensions
The actual physical size of the original image.
3.25 x 4 inches
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Is Part Of
A related resource in which the described resource is physically or logically included.
Peter Hornbeck Lantern Slide Collection, AV-2000.9, Box 2
Format
The file format, physical medium, or dimensions of the resource
jpeg
Type
The nature or genre of the resource
Image
Identifier
An unambiguous reference to the resource within a given context
HLS-68
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation
Title
A name given to the resource
Store District, Merchants Square, Williamsburg, Virginia
Creator
An entity primarily responsible for making the resource
A.D. Handy Co.
Subject
The topic of the resource
Central business districts - Virginia - Williamsburg
Merchants Square (Williamsburg, Va.)
Lantern slides - Hand-colored - 1930-1940
Stores, Retail - Virginia - Williamsburg
Description
An account of the resource
View looking down the sidewalk of the south side of Merchants Square towards the College Pharmacy, Williamsburg, Virginia, circa 1935.
Date
A point or period of time associated with an event in the lifecycle of the resource
Circa 1935
Benches
Business Districts
College Pharmacy
Glass Transparencies
Lantern Slides
Merchants Square
Pedestrians
Peter Hornbeck
Retail Stores
Signboards
Virginia
Williamsburg
-
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be28bdd6dc182018b8dea0068c0f914d
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Peter Hornbeck Lantern Slide Collection
Subject
The topic of the resource
Lantern slides - Hand-colored - 1930-1940
Hornbeck, Peter - 1936-1998
Williamsburg (Va.)--History.
Architecture, Colonial - Virginia - Williamsburg
Description
An account of the resource
Mr. Peter Hornbeck, a renowned Landscape Architect and Harvard professor, assembled this collection of lantern slides produced between the late 1930s and early 1940s. A graduate of the University of Pennsylvania and the Harvard Graduate School of Design, Peter Hornbeck managed the landscape architecture firm of Hornbeck Associates in North Andover, Massachusetts during the 1950s. He became a faculty member of the Harvard Graduate School of Design in 1963 and taught courses focusing upon historic landscape preservation and city planning.. These lantern slides served as visual aids during lectures he gave about the Williamsburg Restoration and eighteenth-century garden history. The lantern slides encompass a variety of images of Williamsburg available commercially from A.D. Handy, F.S. Lincoln, Eldredge Studio, and the National Geographic Society. They also include some images of historic homes and gardens in other parts of Virginia and in Great Britain.
This collection is significant as a record of how landscape architects were interpreting and presenting eighteenth-century garden history during the 1930s and 1940s. It also provides a visual record of Williamsburg buildings and gardens before, during, and after the restoration work undertaken in the early 1930s. In addition, the collection documents how the Williamsburg Restoration publicized its work through commercial slide sets. For example, Mr. F.S. Lincoln, a New York photographer hired to compile a photographic portfolio of restored Williamsburg buildings for a special issue of the "Architectural Record" in 1935, also created colorized lantern slides of his photos for sale in Williamsburg shops. The Peter Hornbeck Lantern Slide Collection contains numerous examples of these early souvenir images.
A precursor of 35mm slides, lantern slides are large format positive transparencies, usually 3.25 x 4 inches, sandwiched between two pieces of glass. Many were hand-colored. A projector allowed the slides to be viewed on a wall or screen. Instead of automatically advancing from one slide to the next, the lantern slides had to be manually placed into a slot on the projector.
Invented in 1848, lantern slides evolved from those associated with magic lanterns in the late nineteenth-century to the format represented in this collection. Between 1848-1870, oil lamps served as the light source for magic lantern projectors. By the 1890s, the carbon arc lamp offered a better lighting method. The introduction of electricity in the twentieth-century allowed the projection of lantern slides to become common in schools and universities. Lantern slides became obsolete in the 1950s when the Kodachrome three-color process brought about the introduction of 35mm slides.
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
Lantern Slide
Physical Dimensions
The actual physical size of the original image.
3.25 x 4 inches
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Is Part Of
A related resource in which the described resource is physically or logically included.
Peter Hornbeck Lantern Slides Collection, AV-2000.9, Box 2
Format
The file format, physical medium, or dimensions of the resource
jpeg
Type
The nature or genre of the resource
Image
Identifier
An unambiguous reference to the resource within a given context
HLS-62
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation
Creator
An entity primarily responsible for making the resource
A. D. Handy Co.
Title
A name given to the resource
Travis House, Williamsburg, Virginia
Subject
The topic of the resource
Travis House (Williamsburg, Va.)
Block 13. Building 23A.
Restaurants - Virginia - Williamsburg
Lantern slides - Hand-colored - 1930-1940
Description
An account of the resource
A popular restaurant for tourists in the 1930s, the Travis House stood for a period of time along Duke of Gloucester Street on the site formerly occupied by the Palace Theater. Its menu featured dishes inspired by colonial recipes. The structure moved back to its original location at the northeast corner of Francis and Henry Streets in the early 1950s.
Colonel Edward Champion Travis built the home in 1765 and it acquired several additions as successive owners occupied the site. Travis served in the House of Burgesses and was its most prominent colonial occupant. The house became a residence for superintendents of Eastern State Hospital in the nineteenth and early twentieth centuries.
Eastern State Hospital turned the building over to the Williamsburg Restoration in 1929 and this led to its temporary move to Duke of Gloucester Street to become a restaurant between 1930-1951.
Date
A point or period of time associated with an event in the lifecycle of the resource
Circa 1930
Chimneys
Dormer Windows
Dormers
Duke of Gloucester Street
Gambrel Roofs
Glass Transparencies
Hitching Posts
Lantern Slides
Peter Hornbeck
Railings
Restaurants
Shutters
Signboards
Signs
Stairs
Street Scenes
Transoms
Travis House
Virginia
Weatherboarding
Williamsburg
-
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25e4f808c401ab1410fb1af760e49250
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Peter Hornbeck Lantern Slide Collection
Subject
The topic of the resource
Lantern slides - Hand-colored - 1930-1940
Hornbeck, Peter - 1936-1998
Williamsburg (Va.)--History.
Architecture, Colonial - Virginia - Williamsburg
Description
An account of the resource
Mr. Peter Hornbeck, a renowned Landscape Architect and Harvard professor, assembled this collection of lantern slides produced between the late 1930s and early 1940s. A graduate of the University of Pennsylvania and the Harvard Graduate School of Design, Peter Hornbeck managed the landscape architecture firm of Hornbeck Associates in North Andover, Massachusetts during the 1950s. He became a faculty member of the Harvard Graduate School of Design in 1963 and taught courses focusing upon historic landscape preservation and city planning.. These lantern slides served as visual aids during lectures he gave about the Williamsburg Restoration and eighteenth-century garden history. The lantern slides encompass a variety of images of Williamsburg available commercially from A.D. Handy, F.S. Lincoln, Eldredge Studio, and the National Geographic Society. They also include some images of historic homes and gardens in other parts of Virginia and in Great Britain.
This collection is significant as a record of how landscape architects were interpreting and presenting eighteenth-century garden history during the 1930s and 1940s. It also provides a visual record of Williamsburg buildings and gardens before, during, and after the restoration work undertaken in the early 1930s. In addition, the collection documents how the Williamsburg Restoration publicized its work through commercial slide sets. For example, Mr. F.S. Lincoln, a New York photographer hired to compile a photographic portfolio of restored Williamsburg buildings for a special issue of the "Architectural Record" in 1935, also created colorized lantern slides of his photos for sale in Williamsburg shops. The Peter Hornbeck Lantern Slide Collection contains numerous examples of these early souvenir images.
A precursor of 35mm slides, lantern slides are large format positive transparencies, usually 3.25 x 4 inches, sandwiched between two pieces of glass. Many were hand-colored. A projector allowed the slides to be viewed on a wall or screen. Instead of automatically advancing from one slide to the next, the lantern slides had to be manually placed into a slot on the projector.
Invented in 1848, lantern slides evolved from those associated with magic lanterns in the late nineteenth-century to the format represented in this collection. Between 1848-1870, oil lamps served as the light source for magic lantern projectors. By the 1890s, the carbon arc lamp offered a better lighting method. The introduction of electricity in the twentieth-century allowed the projection of lantern slides to become common in schools and universities. Lantern slides became obsolete in the 1950s when the Kodachrome three-color process brought about the introduction of 35mm slides.
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
Lantern slide
Physical Dimensions
The actual physical size of the original image.
3.25 x 4 inches
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Williamsburg Theater
Subject
The topic of the resource
Williamsburg Theater (Williamsburg, Va.)
Merchants Square (Williamsburg, Va.)
Motion picture theaters - Virginia - Williamsburg
Lantern Slides - Hand colored - 1930-1940
Description
An account of the resource
View of the front elevation of the Williamsburg Theater on Merchants Square, Williamsburg, Virginia, circa 1935.
Creator
An entity primarily responsible for making the resource
A.D. Handy Co.
Date
A point or period of time associated with an event in the lifecycle of the resource
Circa 1935
Is Part Of
A related resource in which the described resource is physically or logically included.
Peter Hornbeck Lantern Slide Collection, AV-2000.9, Box 2
Format
The file format, physical medium, or dimensions of the resource
jpeg
Extent
The size or duration of the resource.
1 item
Type
The nature or genre of the resource
Image
Identifier
An unambiguous reference to the resource within a given context
HLS-67
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller Jr. Library, The Colonial Williamsburg Foundation
Belt Courses
Brickwork
Dentils
Glass Transparencies
Lantern Slides
Merchants Square
Movie Theaters
Peter Hornbeck
Signboards
Transoms
Virginia
Williamsburg
Williamsburg Theater
-
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dd315d370f344fbc2a4c7d3232483f27
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Pacific Stereopticon Company Lantern Slides
Description
An account of the resource
Produced by the Pacific Stereopticon Company of Los Angeles, this collection of forty-five lantern slides depicts individuals involved in the restoration of Williamsburg, as well as some of the restored buildings. The slides are a mixture of black and white and color images taken by various photographers in the late 1930s. Many are copies based upon photos taken by contract professionals hired to document the appeal of the architecture and landscapes of Colonial Williamsburg. Several of the black and white slides are derived from photos taken by noted architectural photographer F.S. Lincoln, whose collection is also available for viewing on this site.
The lantern slides are significant because they document early efforts to publicize the newly opened museum. California architect Reginald Davis Johnson utilized the set to lecture to students and colleagues about the massive efforts undertaken to bring Williamsburg's historic district back to its 18th-century appearance. Noted for his contributions to the development of the Spanish-Southern California architecture of Santa Barbara, Reginald Davis Johnson resided in Pasadena and operated an architectural design studio. Some of his best known projects include the Santa Barbara Biltmore Hotel, the Santa Barbara Post Office, and the Harbor Hills, Rancho San Pedro, and Baldwin Hills communities in Los Angeles.
A precursor of 35mm slides, lantern slides are large format positive transparencies, usually 3.25 x 4 inches, sandwiched between two pieces of glass. Many were hand-colored. A projector allowed the slides to be viewed on a wall or screen. Instead of automatically advancing from one slide to the next, the lantern slides had to be manually placed into a slot on the projector.
Invented in 1848, lantern slides evolved from those associated with magic lanterns in the late 19th-century to the format represented in this collection. Between 1848-1870, oil lamps served as the light source for magic lantern projectors. By the 1890s, the carbon arc lamp offered a better lighting method. The introduction of electricity in the 20th-century allowed the projection of lantern slides to become common in schools and universities. Lantern slides became obsolete in the 1950s when the Kodachrome three-color process brought about the introduction of 35mm slides.
Subject
The topic of the resource
Pacific Stereopticon Co.
Lantern slides - Hand-colored - 1930-1940
Johnson, Reginald Davis, 1882-1952
Creator
An entity primarily responsible for making the resource
Pacific Stereopticon Co.
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. 1935
Format
The file format, physical medium, or dimensions of the resource
jpeg
Type
The nature or genre of the resource
Image
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
Lantern slide
Physical Dimensions
The actual physical size of the original image.
2 x 3 inches
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Ayscough's Shop on York Road
Identifier
An unambiguous reference to the resource within a given context
PSC-012
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller Jr. Library, The Colonial Williamsburg Foundation
Subject
The topic of the resource
Ayscough House (Williamsburg, Va.)
Historic buildings - Virginia - Williamsburg
Stores, Retail - Virginia - Williamsburg
Block 08. Building 05.
Description
An account of the resource
Lantern slide featuring a photo of the exterior of Ayscough Shop taken by F.S. Lincoln. It is the twelfth slide in a set produced by the Pacific Stereopticon Co. of Los Angeles, California, now defunct, to illustrate the story of Dr. W.A.R. Goodwin's dream to restore a portion of Williamsburg, Virginia to its 18th-century appearance as a shrine to early American ideals.
This slide shows the entrance of the Ayscough Shop in 1935, when it housed the Forge and Wheel, a retail establishment. As noted on the sign, the shop sold decorative ironwork, pottery, and other items.
Christopher Ayscough, the namesake of the shop, tried operating a tavern on the site between 1768-1770. Other shopkeepers, including Catherine Rathell, Matthew Holt, and Jacob Bruce, briefly occupied the store and sold various goods to townspeople.
The structure survived from the eighteenth century, although it was hardly recognizable due to the enlargements and modifications made in the nineteenth century. Once restored to its eighteenth-century appearance, the building exhibited such features typical of a commercial establishment as a gable end entrance and large shop window.
Creator
An entity primarily responsible for making the resource
Lincoln, F.S.
Publisher
An entity responsible for making the resource available
Pacific Stereopticon Co.
Date
A point or period of time associated with an event in the lifecycle of the resource
1935
Is Part Of
A related resource in which the described resource is physically or logically included.
Pacific Stereopticon Lantern Slide Collection
Format
The file format, physical medium, or dimensions of the resource
jpeg
Type
The nature or genre of the resource
Image
Ayscough Shop
Bulkheads
Cellars
Chimneys
Dormers
F.S. Lincoln
Fences
Forge and Wheel
Gable End Entrances
Gates
Lantern Slides
Pacific Stereopticon Company
Railings
Shops
Shutters
Signboards
Signs
Stairs
Transoms
Virginia
Weatherboarding
Williamsburg
York Road
-
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2adeb2223ee960c227291a027bec3bb0
Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
Bit Depth
8
Channels
3
Height
768
Width
528
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
An Architect of the Restoration: The Pencil Sketches of Thomas Mott Shaw, F.A.I.A.
Description
An account of the resource
BIOGRAPHY OF THOMAS MOTT SHAW, F.A.I.A.
Thomas Mott Shaw is best known as one of the founding partners and principal architects of the prominent Boston architectural firm Perry, Shaw, and Hepburn, which John D. Rockefeller Jr. hired in 1928 to design, plan, and supervise the groundbreaking historical restoration of Williamsburg, the former eighteenth-century capitol of Virginia.
Born in 1878 in Newport, Rhode Island, Thomas Mott Shaw received a bachelor’s degree from Harvard in 1900 and continued his education at the atelier (workshop) of Jean-Louis Pascal at the Ècole des Beaux-Arts in Paris from 1900 to 1905.[1] After graduation in 1905, he began working in Boston as a draftsman in the office of Guy Lowell, a prominent American architect and landscape architect who designed the Boston Museum of Fine Arts, as well as numerous other public, commercial, academic, and private buildings and spaces, including many distinguished estates and gardens.[2] Shaw’s connections to Lowell were presumably academic in nature, as Lowell was a former Harvard alumnus who also studied under Pascal at the Ècole, where he graduated just one year before Shaw.[3] In 1908, Shaw left Lowell’s employ and opened his own architectural practice, which he pursued until 1916.[4] During the First World War, he served as a first lieutenant in the 489th Aero Squadron of the American Expeditionary Forces (AEF).[5] He was stationed at the U.S. Army’s Air Service Production center at Romorantin, France, where he worked with the Air Service Construction Division #2. During this time, he helped design and build air fields, assembly plants for the fabrication of American aircraft, and barracks for military personnel.[6]
After the war, Shaw returned to the United States and partnered with Andrew H. Hepburn, an MIT graduate and practicing architect who had also worked under Guy Lowell.[7] The two men founded an architectural firm under the name of Shaw and Hepburn, which they managed together from 1918 to 1923.[8] When architect William G. Perry (another alumnus of Harvard, MIT, and the Ècole, as well as a former WWI Army Air Corps captain[9]) joined the partnership in 1923, the firm’s name changed to Perry, Shaw, and Hepburn.[10]
In January 1927, William Perry (representing his partners Shaw and Hepburn) was invited by Reverend William A. R. Goodwin (the rector of Bruton Parish Church in Williamsburg) to produce drawings of Williamsburg as it may have looked in the eighteenth century.[11] Goodwin planned to submit the renderings to an unnamed donor who was interested in restoring the town to its former eighteenth-century appearance.[12] Shaw noted: “I worked on those drawings. We all did. We all worked on them (just like a projet in the Ècole des Beaux-Arts) to get them out.” [13] In late November 1927, after spending eleven months working pro bono[14] on a series of illustrations detailing the prospective restoration of the town and the College of William and Mary’s Wren Building, Perry submitted the firm’s drawings to Reverend Goodwin to deliver to his anonymous benefactor for consideration.[15] Soon after reviewing the architects’ work, Goodwin’s patron decided to begin funding the restoration of Williamsburg, and by early December 1927, the firm of Perry, Shaw, and Hepburn was approved “'to proceed with work on [the] Wren Building’ and reconstruction of the colonial Capitol and Governor’s Palace.”[16] It was not until April 1928, however, that the architects finally learned the identity of the secretive individual funding the endeavor.[17] The three men were summoned to New York for a meeting, where Goodwin introduced them to the wealthy businessman and philanthropist, John D. Rockefeller Jr.[18] After meeting the architects in person and discussing the project with them over lunch, Rockefeller decided that he liked what he had seen and heard. On 1 April 1928,[19] he “assigned overall ‘authority and responsibility’” of Williamsburg’s building and restoration to Perry, Shaw, and Hepburn.[20] Soon thereafter, the architects set up a small office in Williamsburg near Bruton Parish Church to manage the project.[21]
The architects “soon found that drawing plans was only a minor part of the [project]. The hard part was finding out what kind of plans should be drawn.”[22] Consequently, they organized a staff of historical researchers to assist them in their efforts to restore and rebuild Williamsburg’s eighteenth-century structures as authentically as possible. “Very early in the project, [the architects] decided to establish the highest possible standards for the job. ‘Nothing was ever done without a good reason,’ Shaw once stated. ‘If there were no documented reasons for doing a particular thing, we didn’t do it.’”[23]
Perry, Shaw, and Hepburn’s dedication to the ideals of historic preservation at Williamsburg also paralleled a larger “preservation fever” that was sweeping the nation in the 1920s, called the Colonial Revival.[24] “Historic preservation formed the core of the Colonial Revival, a social and stylistic mindset that peaked during the 1920s [25]…fueled by the usual turmoil – a world war, the Bolshevik Revolution, the Red Scare, and another spike in immigration, all of which increased the nostalgia for the good old colonial days.[26] ….Creating museums from historic buildings became a preferred philanthropy for the wealthy…and John D. Rockefeller Jr. launched the single largest preservation project the country had seen: Colonial Williamsburg.” [27]
In the wake of the stock market crash of 1929 and the subsequent national economic collapse of the Great Depression, the fervor of the movement waned, as “only the wealthiest could afford to indulge in antiques, art, and architectural restoration.”[28] As one of the wealthiest men in the country, however, John D. Rockefeller Jr. was one of the few people who could indeed afford to finance his interests in the Colonial Revival. Despite the economic strife of the times, Rockefeller’s infusion of funds into Williamsburg not only helped support the research and restoration of this sleepy southern town back to its former eighteenth-century appearance as the colonial capitol of Virginia, but also provided Williamsburg with much-needed jobs during the worst years of the Depression. By the late 1930s, Rockefeller’s restoration had positioned the town as an architectural and cultural cornerstone of the Colonial Revival movement, fueled Colonial Revival sentiments in spite of the nation’s social and economic woes, and established Williamsburg as a pioneering example of historical preservation relating to the nation’s colonial and revolutionary past.
In time, Thomas Mott Shaw was eventually “placed on [a] consulting basis” with Williamsburg’s Restoration “when an architectural department was established by Colonial Williamsburg” on 1 October 1934.[29] In 1938, Shaw was recognized by the American Institute of Architects for his work on the Williamsburg Inn, “chosen for its excellency of design wedded to the sensitive appreciation of location.”[30] He was awarded the Institute’s Bronze Medal of Honor, the highest award given to a practicing architect in the country.[31] In 1939, Shaw was placed on an annual retainer with the Restoration, though he continued working as a consultant for Colonial Williamsburg on various design and restoration projects.
After a long and accomplished career, Thomas Mott Shaw died on 17 February 1965.[32]
THE THOMAS MOTT SHAW COLLECTION
This collection consists of thirty-four graphite and mixed media sketches drawn by architect Thomas Mott Shaw during the restoration of Colonial Williamsburg from the late 1920s through 1930s, depicting various architectural exteriors and interiors of historic buildings in and around Colonial Williamsburg’s Historic Area. It is not known precisely why these drawings were created – whether for in-house or external purposes by Perry, Shaw, and Hepburn, for Colonial Williamsburg’s staff or other interested parties, or perhaps even for Shaw’s own personal use – but they have since become historically important artifacts and images of Williamsburg’s Restoration period. These illustrations take us back in time to the early days of Williamsburg as a reconstructed historic site and living history museum, capturing views that offer interesting opportunities for insight and reflection into the early research, planning, design, building, and restoration of the town’s landscape, architecture, and character as Virginia’s eighteenth-century colonial capitol.
The earliest sketch in this collection, drawn in 1928, features the Bracken Tenement (also known as the Bracken House) on Francis Street, which was one of the first buildings to be restored in Williamsburg by Perry, Shaw, and Hepburn[33] in 1928.[34] The latest sketch, drawn in 1938, depicts a proposed addition to the Williamsburg Inn which was never built. Otherwise, the majority of the drawings – thirty-two in number – were completed in 1933.
In the fall of 1944, Shaw offered this collection of thirty-four sketches to the Colonial Williamsburg Foundation “for use in connection with publicity or any other purpose you would like to use them for.”[35] Upon review of the sketches, Colonial Williamsburg’s staff accepted them, stating: “These sketches are something which we definitely should have in our archives….Mr. Shaw has done them from photographs and that in this respect they are not such creative work as might be done on location without the use of photographs….We have not undertaken to determine how best they can be utilized but there are several possibilities which we should like to explore further.”[36]
Though the sketches were thought to be “very good” and might be used in various ways,[37] Colonial Williamsburg’s staff chiefly appreciated the drawings for their “sentimental appeal by virtue of Mr. Shaw’s connection with Colonial Williamsburg”[38] and “the fact that they are the handiwork of Mr. Shaw, which…will make them quite valuable to Colonial Williamsburg in the future.”[39]
Shaw’s sketches were purchased and accepted into the research archives of Colonial Williamsburg’s Architectural Department between November 1945 and January 1946. These drawings are now part of the Architectural Drawings Collection in the Special Collections wing of the Colonial Williamsburg Foundation’s John D. Rockefeller Jr. Library. While a separate collection of Shaw’s personal papers and drawings also reside within the Smithsonian Institution’s Archives of American Art in Washington, D.C.,[40] the Colonial Williamsburg Foundation is proud to possess the majority of Mr. Shaw’s drawings and correspondence associated with his meticulous and pioneering work on Williamsburg’s restoration.
ENDNOTES
[1] George H. Yetter, “Thomas Mott Shaw, F.A.I.A., 1878-1965” unpublished biography, Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation (Williamsburg, Va.: The Colonial Williamsburg Foundation).
[2] Ibid.
[3] Henry F. Withey and Elsie Rathburn Withey, Biographical Dictionary of American Architects [Deceased] (Los Angeles: Hennessey & Ingalls, Inc., 1970), 381-382.
[4] Yetter, “Thomas Mott Shaw, F.A.I.A., 1878-1965.”
[5] George H. Yetter, handwritten notes compiled from Thomas Mott Shaw Papers (in Archives of American Art, Smithsonian Institution, gift of Sarah Quinan Shaw Johnson, Concord, Ma., 1975), Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation (Williamsburg, Va.: The Colonial Williamsburg Foundation).
[6] Ibid.; see also “Colonial Williamsburg Logbook” biographical sheet on Thomas Mott Shaw, dated 15 March 1947, Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation (Williamsburg, Va.: The Colonial Williamsburg Foundation).
[7] George H. Yetter, “Designers of Beauty: Academic Training and Williamsburg’s Architectural Restoration,” Colonial Williamsburg Journal (Winter 2012): 58.
[8] Yetter, handwritten notes compiled from Thomas Mott Shaw Papers; see also “Colonial Williamsburg Logbook” biographical sheet.
[9] Will Molineux, “The Architect of Colonial Williamsburg: William Graves Perry,” Colonial Williamsburg Journal (Autumn 2004), 61.
[10] “Colonial Williamsburg Logbook” biographical sheet.
[11] Fred Frechette, “Work on Restoration Started as ‘Bit of Fun,’” Richmond Times-Dispatch (Richmond, Va.), 21 May 1956, page number unknown, Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation.
[12] Yetter, “Thomas Mott Shaw, F.A.I.A., 1878-1965.”
[13] Ibid. (T.M. Shaw quote excerpted from “Reminiscences of Thomas Mott Shaw,” Colonial Williamsburg Foundation Archives, Oral History Collection, 11), Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation (Williamsburg, Va.: The Colonial Williamsburg Foundation).
[14] Frechette, “Work on Restoration Started as ‘Bit of Fun.’”
[15] George H. Yetter, “Thomas Mott Shaw” typewritten research notes, Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation (Williamsburg, Va.: The Colonial Williamsburg Foundation).
[16] Molineux, “The Architect of Colonial Williamsburg,” 63.
[17] Ibid.
[18] Ibid.
[19] Yetter, “Thomas Mott Shaw” typewritten research notes.
[20] Molineux, 63; see also Frechette, “Work on Restoration Started as ‘Bit of Fun.’”
[21] Molineux, 63.
[22] Frechette, “Work on Restoration Started as ‘Bit of Fun.’”
[23] Ibid.
[24] Mary Miley Theobald, “The Colonial Revival: The Past that Never Dies,” Colonial Williamsburg Journal (Summer 2002), 81.
[25] Ibid., 81.
[26] Ibid., 84.
[27] Ibid., 81.
[28] Ibid., 84.
[29] Yetter, “Thomas Mott Shaw” typewritten research notes.
[30] Frechette, “Work on Restoration Started as ‘Bit of Fun.’”
[31] Ibid.
[32] Yetter, “Thomas Mott Shaw, F.A.I.A., 1878-1965.”
[33] Frechette, “Work on Restoration Started as ‘Bit of Fun.’”
[34]Carl Lounsbury, “Bracken Tenement: Block 2, Building 52,” Colonial Williamsburg Foundation website, n.d., http://research.history.org/Architectural_Research/Research_Articles/ThemeBldgs/Bracken.cfm (accessed 5 May 2014).
[35] Letter from Thomas Mott Shaw to Vernon Geddy of Williamsburg Restoration, Inc., 25 October 1944, Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation.
[36] Staff memo from B.W. Norton to Vernon Geddy of Williamsburg Restoration, Inc., 1 November 1945, Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation.
[37] Staff memo from J.A. Upshur to Kenneth Chorley of Williamsburg Restoration, Inc., 12 January 1946, Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation.
[38] Ibid.
[39] Ibid.
[40] Letter from Michael A. Grimes (archivist, Smithsonian Institution, Archives of American Art) to George H. Yetter (Associate Curator of Architectural Drawings, Colonial Williamsburg Foundation), 2 August 1989, Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation.
SUGGESTIONS FOR FURTHER READING
Chappell, Edward A. “Architects of Colonial Williamsburg” in Encyclopedia of Southern Culture, ed. by Charles
Reagan Wilson, William R. Ferris, and Ann J. Adadie. Chapel Hill: University of North Carolina Press, 1989, 59-61.
Greenspan, Anders. Creating Colonial Williamsburg: The Restoration of Virginia’s Eighteenth-Century Capitol. Chapel Hill: The University of North Carolina Press, 2002.
Hosmer, Charles Bridgham, and National Trust for Historic Preservation in the United States. Preservation Comes of Age: From Williamsburg to the National Trust, 1926-1949, Vol. 1. Charlottesville: Published for the Preservation Press, National Trust for Historic Preservation in the United States by the University Press of Virginia, 1981.
Kimball, Fiske, et al. The Restoration of Colonial Williamsburg in Virginia. New York: F.W. Dodge
Corporation, 1935.
Molineux, Will. “The Architect of Colonial Williamsburg: William Graves Perry,” Colonial Williamsburg Journal (August 2004): 58-65.
Theobald, Mary Miley. “The Colonial Revival: The Past that Never Dies,” Colonial Williamsburg Journal (Summer 2002): 81-85.
Yetter, George Humphrey. “Designers of Beauty: Academic Training and Williamsburg’s Architectural Restoration,” Colonial Williamsburg Journal (Winter 2012): 54-60.
Yetter, George Humphrey. Williamsburg Before and After: The Rebirth of Virginia's Colonial Capital. Williamsburg, Va.: Colonial Williamsburg Foundation, 1988.
Still Image
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Original Format
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31 x 45.5 cm
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Raleigh Tavern Entrance
Subject
The topic of the resource
Raleigh Tavern (Williamsburg, Va.)
Block 17. Building 06.
Historic buildings - Virginia - Williamsburg
Architecture, Colonial - Virginia - Williamsburg
Taverns (Inns) - Virginia - Williamsburg
Description
An account of the resource
<p>Exterior of the Raleigh Tavern, view of the front entrance looking north from across Duke of Gloucester Street, 1933. The tavern's signboard stands in the foreground to the left, while in the background, a gowned female costumed interpreter (once referred to as a "hostess") is shown standing to the right of the building's entrance. A lead bust of Sir Walter Raleigh, the noted navigator-explorer, is featured in the broken pediment above the tavern's front doors.</p>
<p>The Raleigh Tavern was the frequent scene of both jollity and consequence, and was "....the foremost of Williamsburg's taverns in the eighteenth century. Established about 1717, the Raleigh Tavern grew in size and reputation through the years. Letters, diaries, newspaper advertisements, and other records indicate that the Raleigh was one of the most important taverns in colonial Virginia. It served as a center for social, commercial, and political gatherings; small private and large public dinners; lectures and exhibitions; and auctions of merchandise, land, and the enslaved." Burned to the ground in 1859, the tavern was reconstructed from published illustrations, insurance policies, and archaeology that uncovered most of the original foundations.</p>
<p>(Source: Michael Olmert and Suzanne Coffman, <em>Official Guide to Colonial Williamsburg</em> [Williamsburg, VA: The Colonial Williamsburg Foundation, 2007], 60).</p>
Creator
An entity primarily responsible for making the resource
Shaw, Thomas Mott
Date
A point or period of time associated with an event in the lifecycle of the resource
1933
Date Created
Date of creation of the resource.
1933
Rights
Information about rights held in and over the resource
This material is protected by copyright law (Title 17, U.S. Code). For reproduction queries: <a href="http://research.history.org/JDRLibrary/Visual_Resources/VisualResourcePermission.cfm">Rights and reproductions</a>
Format
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jpeg
Type
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Image
Identifier
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D2008-COPY-1014-1054
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation
Benches
Busts
Chimneys
Colonial Architecture
Costumed Interpreters
Dentils
Dormer Windows
Dormers
Duke of Gloucester Street
Exteriors
Historic Buildings
Hitching Posts
Hostesses
Inns
Ordinaries
Pediments
Raleigh Tavern
Shutters
Signboards
Signs
Sir Walter Raleigh
Stairs
Taverns
Thomas Mott Shaw
Virginia
Weatherboarding
Williamsburg
-
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Omeka Image File
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8
Channels
3
Height
699
Width
1024
Dublin Core
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Title
A name given to the resource
An Architect of the Restoration: The Pencil Sketches of Thomas Mott Shaw, F.A.I.A.
Description
An account of the resource
BIOGRAPHY OF THOMAS MOTT SHAW, F.A.I.A.
Thomas Mott Shaw is best known as one of the founding partners and principal architects of the prominent Boston architectural firm Perry, Shaw, and Hepburn, which John D. Rockefeller Jr. hired in 1928 to design, plan, and supervise the groundbreaking historical restoration of Williamsburg, the former eighteenth-century capitol of Virginia.
Born in 1878 in Newport, Rhode Island, Thomas Mott Shaw received a bachelor’s degree from Harvard in 1900 and continued his education at the atelier (workshop) of Jean-Louis Pascal at the Ècole des Beaux-Arts in Paris from 1900 to 1905.[1] After graduation in 1905, he began working in Boston as a draftsman in the office of Guy Lowell, a prominent American architect and landscape architect who designed the Boston Museum of Fine Arts, as well as numerous other public, commercial, academic, and private buildings and spaces, including many distinguished estates and gardens.[2] Shaw’s connections to Lowell were presumably academic in nature, as Lowell was a former Harvard alumnus who also studied under Pascal at the Ècole, where he graduated just one year before Shaw.[3] In 1908, Shaw left Lowell’s employ and opened his own architectural practice, which he pursued until 1916.[4] During the First World War, he served as a first lieutenant in the 489th Aero Squadron of the American Expeditionary Forces (AEF).[5] He was stationed at the U.S. Army’s Air Service Production center at Romorantin, France, where he worked with the Air Service Construction Division #2. During this time, he helped design and build air fields, assembly plants for the fabrication of American aircraft, and barracks for military personnel.[6]
After the war, Shaw returned to the United States and partnered with Andrew H. Hepburn, an MIT graduate and practicing architect who had also worked under Guy Lowell.[7] The two men founded an architectural firm under the name of Shaw and Hepburn, which they managed together from 1918 to 1923.[8] When architect William G. Perry (another alumnus of Harvard, MIT, and the Ècole, as well as a former WWI Army Air Corps captain[9]) joined the partnership in 1923, the firm’s name changed to Perry, Shaw, and Hepburn.[10]
In January 1927, William Perry (representing his partners Shaw and Hepburn) was invited by Reverend William A. R. Goodwin (the rector of Bruton Parish Church in Williamsburg) to produce drawings of Williamsburg as it may have looked in the eighteenth century.[11] Goodwin planned to submit the renderings to an unnamed donor who was interested in restoring the town to its former eighteenth-century appearance.[12] Shaw noted: “I worked on those drawings. We all did. We all worked on them (just like a projet in the Ècole des Beaux-Arts) to get them out.” [13] In late November 1927, after spending eleven months working pro bono[14] on a series of illustrations detailing the prospective restoration of the town and the College of William and Mary’s Wren Building, Perry submitted the firm’s drawings to Reverend Goodwin to deliver to his anonymous benefactor for consideration.[15] Soon after reviewing the architects’ work, Goodwin’s patron decided to begin funding the restoration of Williamsburg, and by early December 1927, the firm of Perry, Shaw, and Hepburn was approved “'to proceed with work on [the] Wren Building’ and reconstruction of the colonial Capitol and Governor’s Palace.”[16] It was not until April 1928, however, that the architects finally learned the identity of the secretive individual funding the endeavor.[17] The three men were summoned to New York for a meeting, where Goodwin introduced them to the wealthy businessman and philanthropist, John D. Rockefeller Jr.[18] After meeting the architects in person and discussing the project with them over lunch, Rockefeller decided that he liked what he had seen and heard. On 1 April 1928,[19] he “assigned overall ‘authority and responsibility’” of Williamsburg’s building and restoration to Perry, Shaw, and Hepburn.[20] Soon thereafter, the architects set up a small office in Williamsburg near Bruton Parish Church to manage the project.[21]
The architects “soon found that drawing plans was only a minor part of the [project]. The hard part was finding out what kind of plans should be drawn.”[22] Consequently, they organized a staff of historical researchers to assist them in their efforts to restore and rebuild Williamsburg’s eighteenth-century structures as authentically as possible. “Very early in the project, [the architects] decided to establish the highest possible standards for the job. ‘Nothing was ever done without a good reason,’ Shaw once stated. ‘If there were no documented reasons for doing a particular thing, we didn’t do it.’”[23]
Perry, Shaw, and Hepburn’s dedication to the ideals of historic preservation at Williamsburg also paralleled a larger “preservation fever” that was sweeping the nation in the 1920s, called the Colonial Revival.[24] “Historic preservation formed the core of the Colonial Revival, a social and stylistic mindset that peaked during the 1920s [25]…fueled by the usual turmoil – a world war, the Bolshevik Revolution, the Red Scare, and another spike in immigration, all of which increased the nostalgia for the good old colonial days.[26] ….Creating museums from historic buildings became a preferred philanthropy for the wealthy…and John D. Rockefeller Jr. launched the single largest preservation project the country had seen: Colonial Williamsburg.” [27]
In the wake of the stock market crash of 1929 and the subsequent national economic collapse of the Great Depression, the fervor of the movement waned, as “only the wealthiest could afford to indulge in antiques, art, and architectural restoration.”[28] As one of the wealthiest men in the country, however, John D. Rockefeller Jr. was one of the few people who could indeed afford to finance his interests in the Colonial Revival. Despite the economic strife of the times, Rockefeller’s infusion of funds into Williamsburg not only helped support the research and restoration of this sleepy southern town back to its former eighteenth-century appearance as the colonial capitol of Virginia, but also provided Williamsburg with much-needed jobs during the worst years of the Depression. By the late 1930s, Rockefeller’s restoration had positioned the town as an architectural and cultural cornerstone of the Colonial Revival movement, fueled Colonial Revival sentiments in spite of the nation’s social and economic woes, and established Williamsburg as a pioneering example of historical preservation relating to the nation’s colonial and revolutionary past.
In time, Thomas Mott Shaw was eventually “placed on [a] consulting basis” with Williamsburg’s Restoration “when an architectural department was established by Colonial Williamsburg” on 1 October 1934.[29] In 1938, Shaw was recognized by the American Institute of Architects for his work on the Williamsburg Inn, “chosen for its excellency of design wedded to the sensitive appreciation of location.”[30] He was awarded the Institute’s Bronze Medal of Honor, the highest award given to a practicing architect in the country.[31] In 1939, Shaw was placed on an annual retainer with the Restoration, though he continued working as a consultant for Colonial Williamsburg on various design and restoration projects.
After a long and accomplished career, Thomas Mott Shaw died on 17 February 1965.[32]
THE THOMAS MOTT SHAW COLLECTION
This collection consists of thirty-four graphite and mixed media sketches drawn by architect Thomas Mott Shaw during the restoration of Colonial Williamsburg from the late 1920s through 1930s, depicting various architectural exteriors and interiors of historic buildings in and around Colonial Williamsburg’s Historic Area. It is not known precisely why these drawings were created – whether for in-house or external purposes by Perry, Shaw, and Hepburn, for Colonial Williamsburg’s staff or other interested parties, or perhaps even for Shaw’s own personal use – but they have since become historically important artifacts and images of Williamsburg’s Restoration period. These illustrations take us back in time to the early days of Williamsburg as a reconstructed historic site and living history museum, capturing views that offer interesting opportunities for insight and reflection into the early research, planning, design, building, and restoration of the town’s landscape, architecture, and character as Virginia’s eighteenth-century colonial capitol.
The earliest sketch in this collection, drawn in 1928, features the Bracken Tenement (also known as the Bracken House) on Francis Street, which was one of the first buildings to be restored in Williamsburg by Perry, Shaw, and Hepburn[33] in 1928.[34] The latest sketch, drawn in 1938, depicts a proposed addition to the Williamsburg Inn which was never built. Otherwise, the majority of the drawings – thirty-two in number – were completed in 1933.
In the fall of 1944, Shaw offered this collection of thirty-four sketches to the Colonial Williamsburg Foundation “for use in connection with publicity or any other purpose you would like to use them for.”[35] Upon review of the sketches, Colonial Williamsburg’s staff accepted them, stating: “These sketches are something which we definitely should have in our archives….Mr. Shaw has done them from photographs and that in this respect they are not such creative work as might be done on location without the use of photographs….We have not undertaken to determine how best they can be utilized but there are several possibilities which we should like to explore further.”[36]
Though the sketches were thought to be “very good” and might be used in various ways,[37] Colonial Williamsburg’s staff chiefly appreciated the drawings for their “sentimental appeal by virtue of Mr. Shaw’s connection with Colonial Williamsburg”[38] and “the fact that they are the handiwork of Mr. Shaw, which…will make them quite valuable to Colonial Williamsburg in the future.”[39]
Shaw’s sketches were purchased and accepted into the research archives of Colonial Williamsburg’s Architectural Department between November 1945 and January 1946. These drawings are now part of the Architectural Drawings Collection in the Special Collections wing of the Colonial Williamsburg Foundation’s John D. Rockefeller Jr. Library. While a separate collection of Shaw’s personal papers and drawings also reside within the Smithsonian Institution’s Archives of American Art in Washington, D.C.,[40] the Colonial Williamsburg Foundation is proud to possess the majority of Mr. Shaw’s drawings and correspondence associated with his meticulous and pioneering work on Williamsburg’s restoration.
ENDNOTES
[1] George H. Yetter, “Thomas Mott Shaw, F.A.I.A., 1878-1965” unpublished biography, Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation (Williamsburg, Va.: The Colonial Williamsburg Foundation).
[2] Ibid.
[3] Henry F. Withey and Elsie Rathburn Withey, Biographical Dictionary of American Architects [Deceased] (Los Angeles: Hennessey & Ingalls, Inc., 1970), 381-382.
[4] Yetter, “Thomas Mott Shaw, F.A.I.A., 1878-1965.”
[5] George H. Yetter, handwritten notes compiled from Thomas Mott Shaw Papers (in Archives of American Art, Smithsonian Institution, gift of Sarah Quinan Shaw Johnson, Concord, Ma., 1975), Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation (Williamsburg, Va.: The Colonial Williamsburg Foundation).
[6] Ibid.; see also “Colonial Williamsburg Logbook” biographical sheet on Thomas Mott Shaw, dated 15 March 1947, Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation (Williamsburg, Va.: The Colonial Williamsburg Foundation).
[7] George H. Yetter, “Designers of Beauty: Academic Training and Williamsburg’s Architectural Restoration,” Colonial Williamsburg Journal (Winter 2012): 58.
[8] Yetter, handwritten notes compiled from Thomas Mott Shaw Papers; see also “Colonial Williamsburg Logbook” biographical sheet.
[9] Will Molineux, “The Architect of Colonial Williamsburg: William Graves Perry,” Colonial Williamsburg Journal (Autumn 2004), 61.
[10] “Colonial Williamsburg Logbook” biographical sheet.
[11] Fred Frechette, “Work on Restoration Started as ‘Bit of Fun,’” Richmond Times-Dispatch (Richmond, Va.), 21 May 1956, page number unknown, Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation.
[12] Yetter, “Thomas Mott Shaw, F.A.I.A., 1878-1965.”
[13] Ibid. (T.M. Shaw quote excerpted from “Reminiscences of Thomas Mott Shaw,” Colonial Williamsburg Foundation Archives, Oral History Collection, 11), Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation (Williamsburg, Va.: The Colonial Williamsburg Foundation).
[14] Frechette, “Work on Restoration Started as ‘Bit of Fun.’”
[15] George H. Yetter, “Thomas Mott Shaw” typewritten research notes, Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation (Williamsburg, Va.: The Colonial Williamsburg Foundation).
[16] Molineux, “The Architect of Colonial Williamsburg,” 63.
[17] Ibid.
[18] Ibid.
[19] Yetter, “Thomas Mott Shaw” typewritten research notes.
[20] Molineux, 63; see also Frechette, “Work on Restoration Started as ‘Bit of Fun.’”
[21] Molineux, 63.
[22] Frechette, “Work on Restoration Started as ‘Bit of Fun.’”
[23] Ibid.
[24] Mary Miley Theobald, “The Colonial Revival: The Past that Never Dies,” Colonial Williamsburg Journal (Summer 2002), 81.
[25] Ibid., 81.
[26] Ibid., 84.
[27] Ibid., 81.
[28] Ibid., 84.
[29] Yetter, “Thomas Mott Shaw” typewritten research notes.
[30] Frechette, “Work on Restoration Started as ‘Bit of Fun.’”
[31] Ibid.
[32] Yetter, “Thomas Mott Shaw, F.A.I.A., 1878-1965.”
[33] Frechette, “Work on Restoration Started as ‘Bit of Fun.’”
[34]Carl Lounsbury, “Bracken Tenement: Block 2, Building 52,” Colonial Williamsburg Foundation website, n.d., http://research.history.org/Architectural_Research/Research_Articles/ThemeBldgs/Bracken.cfm (accessed 5 May 2014).
[35] Letter from Thomas Mott Shaw to Vernon Geddy of Williamsburg Restoration, Inc., 25 October 1944, Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation.
[36] Staff memo from B.W. Norton to Vernon Geddy of Williamsburg Restoration, Inc., 1 November 1945, Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation.
[37] Staff memo from J.A. Upshur to Kenneth Chorley of Williamsburg Restoration, Inc., 12 January 1946, Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation.
[38] Ibid.
[39] Ibid.
[40] Letter from Michael A. Grimes (archivist, Smithsonian Institution, Archives of American Art) to George H. Yetter (Associate Curator of Architectural Drawings, Colonial Williamsburg Foundation), 2 August 1989, Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation.
SUGGESTIONS FOR FURTHER READING
Chappell, Edward A. “Architects of Colonial Williamsburg” in Encyclopedia of Southern Culture, ed. by Charles
Reagan Wilson, William R. Ferris, and Ann J. Adadie. Chapel Hill: University of North Carolina Press, 1989, 59-61.
Greenspan, Anders. Creating Colonial Williamsburg: The Restoration of Virginia’s Eighteenth-Century Capitol. Chapel Hill: The University of North Carolina Press, 2002.
Hosmer, Charles Bridgham, and National Trust for Historic Preservation in the United States. Preservation Comes of Age: From Williamsburg to the National Trust, 1926-1949, Vol. 1. Charlottesville: Published for the Preservation Press, National Trust for Historic Preservation in the United States by the University Press of Virginia, 1981.
Kimball, Fiske, et al. The Restoration of Colonial Williamsburg in Virginia. New York: F.W. Dodge
Corporation, 1935.
Molineux, Will. “The Architect of Colonial Williamsburg: William Graves Perry,” Colonial Williamsburg Journal (August 2004): 58-65.
Theobald, Mary Miley. “The Colonial Revival: The Past that Never Dies,” Colonial Williamsburg Journal (Summer 2002): 81-85.
Yetter, George Humphrey. “Designers of Beauty: Academic Training and Williamsburg’s Architectural Restoration,” Colonial Williamsburg Journal (Winter 2012): 54-60.
Yetter, George Humphrey. Williamsburg Before and After: The Rebirth of Virginia's Colonial Capital. Williamsburg, Va.: Colonial Williamsburg Foundation, 1988.
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
Graphite on paper
Physical Dimensions
The actual physical size of the original image.
44.5 x 30.5 cm
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Raleigh Tavern, View Looking Northeast
Subject
The topic of the resource
Raleigh Tavern (Williamsburg, Va.)
Block 17. Building 06.
Historic buildings - Virginia - Williamsburg
Architecture, Colonial - Virginia - Williamsburg
Taverns (Inns) - Virginia - Williamsburg
Description
An account of the resource
<p>Exterior of the Raleigh Tavern, view looking northeast from across Duke of Gloucester Street, 1933. The Raleigh Tavern was the frequent scene of both jollity and consequence, and was "....the foremost of Williamsburg's taverns in the eighteenth century. Established about 1717, the Raleigh Tavern grew in size and reputation through the years. Letters, diaries, newspaper advertisements, and other records indicate that the Raleigh was one of the most important taverns in colonial Virginia. It served as a center for social, commercial, and political gatherings; small private and large public dinners; lectures and exhibitions; and auctions of merchandise, land, and the enslaved." Burned to the ground in 1859, the tavern was reconstructed from published illustrations, insurance policies, and archaeology that uncovered most of the original foundations.</p>
<p>(Source: Michael Olmert and Suzanne Coffman, <em>Official Guide to Colonial Williamsburg</em> [Williamsburg, VA: The Colonial Williamsburg Foundation, 2007], 60).</p>
Creator
An entity primarily responsible for making the resource
Shaw, Thomas Mott
Date
A point or period of time associated with an event in the lifecycle of the resource
1933
Date Created
Date of creation of the resource.
1933
Rights
Information about rights held in and over the resource
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D2008-COPY-1014-1052
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Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation
Benches
Cellars
Chimneys
Colonial Architecture
Dentils
Dormer Windows
Dormers
Duke of Gloucester Street
Exteriors
Fences
Gates
Hipped Roofs
Historic Buildings
Hitching Posts
Inns
Ordinaries
Raleigh Tavern
Shutters
Signboards
Signs
Taverns
Thomas Mott Shaw
Virginia
Weatherboarding
Williamsburg
-
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Omeka Image File
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Dublin Core
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Title
A name given to the resource
An Architect of the Restoration: The Pencil Sketches of Thomas Mott Shaw, F.A.I.A.
Description
An account of the resource
BIOGRAPHY OF THOMAS MOTT SHAW, F.A.I.A.
Thomas Mott Shaw is best known as one of the founding partners and principal architects of the prominent Boston architectural firm Perry, Shaw, and Hepburn, which John D. Rockefeller Jr. hired in 1928 to design, plan, and supervise the groundbreaking historical restoration of Williamsburg, the former eighteenth-century capitol of Virginia.
Born in 1878 in Newport, Rhode Island, Thomas Mott Shaw received a bachelor’s degree from Harvard in 1900 and continued his education at the atelier (workshop) of Jean-Louis Pascal at the Ècole des Beaux-Arts in Paris from 1900 to 1905.[1] After graduation in 1905, he began working in Boston as a draftsman in the office of Guy Lowell, a prominent American architect and landscape architect who designed the Boston Museum of Fine Arts, as well as numerous other public, commercial, academic, and private buildings and spaces, including many distinguished estates and gardens.[2] Shaw’s connections to Lowell were presumably academic in nature, as Lowell was a former Harvard alumnus who also studied under Pascal at the Ècole, where he graduated just one year before Shaw.[3] In 1908, Shaw left Lowell’s employ and opened his own architectural practice, which he pursued until 1916.[4] During the First World War, he served as a first lieutenant in the 489th Aero Squadron of the American Expeditionary Forces (AEF).[5] He was stationed at the U.S. Army’s Air Service Production center at Romorantin, France, where he worked with the Air Service Construction Division #2. During this time, he helped design and build air fields, assembly plants for the fabrication of American aircraft, and barracks for military personnel.[6]
After the war, Shaw returned to the United States and partnered with Andrew H. Hepburn, an MIT graduate and practicing architect who had also worked under Guy Lowell.[7] The two men founded an architectural firm under the name of Shaw and Hepburn, which they managed together from 1918 to 1923.[8] When architect William G. Perry (another alumnus of Harvard, MIT, and the Ècole, as well as a former WWI Army Air Corps captain[9]) joined the partnership in 1923, the firm’s name changed to Perry, Shaw, and Hepburn.[10]
In January 1927, William Perry (representing his partners Shaw and Hepburn) was invited by Reverend William A. R. Goodwin (the rector of Bruton Parish Church in Williamsburg) to produce drawings of Williamsburg as it may have looked in the eighteenth century.[11] Goodwin planned to submit the renderings to an unnamed donor who was interested in restoring the town to its former eighteenth-century appearance.[12] Shaw noted: “I worked on those drawings. We all did. We all worked on them (just like a projet in the Ècole des Beaux-Arts) to get them out.” [13] In late November 1927, after spending eleven months working pro bono[14] on a series of illustrations detailing the prospective restoration of the town and the College of William and Mary’s Wren Building, Perry submitted the firm’s drawings to Reverend Goodwin to deliver to his anonymous benefactor for consideration.[15] Soon after reviewing the architects’ work, Goodwin’s patron decided to begin funding the restoration of Williamsburg, and by early December 1927, the firm of Perry, Shaw, and Hepburn was approved “'to proceed with work on [the] Wren Building’ and reconstruction of the colonial Capitol and Governor’s Palace.”[16] It was not until April 1928, however, that the architects finally learned the identity of the secretive individual funding the endeavor.[17] The three men were summoned to New York for a meeting, where Goodwin introduced them to the wealthy businessman and philanthropist, John D. Rockefeller Jr.[18] After meeting the architects in person and discussing the project with them over lunch, Rockefeller decided that he liked what he had seen and heard. On 1 April 1928,[19] he “assigned overall ‘authority and responsibility’” of Williamsburg’s building and restoration to Perry, Shaw, and Hepburn.[20] Soon thereafter, the architects set up a small office in Williamsburg near Bruton Parish Church to manage the project.[21]
The architects “soon found that drawing plans was only a minor part of the [project]. The hard part was finding out what kind of plans should be drawn.”[22] Consequently, they organized a staff of historical researchers to assist them in their efforts to restore and rebuild Williamsburg’s eighteenth-century structures as authentically as possible. “Very early in the project, [the architects] decided to establish the highest possible standards for the job. ‘Nothing was ever done without a good reason,’ Shaw once stated. ‘If there were no documented reasons for doing a particular thing, we didn’t do it.’”[23]
Perry, Shaw, and Hepburn’s dedication to the ideals of historic preservation at Williamsburg also paralleled a larger “preservation fever” that was sweeping the nation in the 1920s, called the Colonial Revival.[24] “Historic preservation formed the core of the Colonial Revival, a social and stylistic mindset that peaked during the 1920s [25]…fueled by the usual turmoil – a world war, the Bolshevik Revolution, the Red Scare, and another spike in immigration, all of which increased the nostalgia for the good old colonial days.[26] ….Creating museums from historic buildings became a preferred philanthropy for the wealthy…and John D. Rockefeller Jr. launched the single largest preservation project the country had seen: Colonial Williamsburg.” [27]
In the wake of the stock market crash of 1929 and the subsequent national economic collapse of the Great Depression, the fervor of the movement waned, as “only the wealthiest could afford to indulge in antiques, art, and architectural restoration.”[28] As one of the wealthiest men in the country, however, John D. Rockefeller Jr. was one of the few people who could indeed afford to finance his interests in the Colonial Revival. Despite the economic strife of the times, Rockefeller’s infusion of funds into Williamsburg not only helped support the research and restoration of this sleepy southern town back to its former eighteenth-century appearance as the colonial capitol of Virginia, but also provided Williamsburg with much-needed jobs during the worst years of the Depression. By the late 1930s, Rockefeller’s restoration had positioned the town as an architectural and cultural cornerstone of the Colonial Revival movement, fueled Colonial Revival sentiments in spite of the nation’s social and economic woes, and established Williamsburg as a pioneering example of historical preservation relating to the nation’s colonial and revolutionary past.
In time, Thomas Mott Shaw was eventually “placed on [a] consulting basis” with Williamsburg’s Restoration “when an architectural department was established by Colonial Williamsburg” on 1 October 1934.[29] In 1938, Shaw was recognized by the American Institute of Architects for his work on the Williamsburg Inn, “chosen for its excellency of design wedded to the sensitive appreciation of location.”[30] He was awarded the Institute’s Bronze Medal of Honor, the highest award given to a practicing architect in the country.[31] In 1939, Shaw was placed on an annual retainer with the Restoration, though he continued working as a consultant for Colonial Williamsburg on various design and restoration projects.
After a long and accomplished career, Thomas Mott Shaw died on 17 February 1965.[32]
THE THOMAS MOTT SHAW COLLECTION
This collection consists of thirty-four graphite and mixed media sketches drawn by architect Thomas Mott Shaw during the restoration of Colonial Williamsburg from the late 1920s through 1930s, depicting various architectural exteriors and interiors of historic buildings in and around Colonial Williamsburg’s Historic Area. It is not known precisely why these drawings were created – whether for in-house or external purposes by Perry, Shaw, and Hepburn, for Colonial Williamsburg’s staff or other interested parties, or perhaps even for Shaw’s own personal use – but they have since become historically important artifacts and images of Williamsburg’s Restoration period. These illustrations take us back in time to the early days of Williamsburg as a reconstructed historic site and living history museum, capturing views that offer interesting opportunities for insight and reflection into the early research, planning, design, building, and restoration of the town’s landscape, architecture, and character as Virginia’s eighteenth-century colonial capitol.
The earliest sketch in this collection, drawn in 1928, features the Bracken Tenement (also known as the Bracken House) on Francis Street, which was one of the first buildings to be restored in Williamsburg by Perry, Shaw, and Hepburn[33] in 1928.[34] The latest sketch, drawn in 1938, depicts a proposed addition to the Williamsburg Inn which was never built. Otherwise, the majority of the drawings – thirty-two in number – were completed in 1933.
In the fall of 1944, Shaw offered this collection of thirty-four sketches to the Colonial Williamsburg Foundation “for use in connection with publicity or any other purpose you would like to use them for.”[35] Upon review of the sketches, Colonial Williamsburg’s staff accepted them, stating: “These sketches are something which we definitely should have in our archives….Mr. Shaw has done them from photographs and that in this respect they are not such creative work as might be done on location without the use of photographs….We have not undertaken to determine how best they can be utilized but there are several possibilities which we should like to explore further.”[36]
Though the sketches were thought to be “very good” and might be used in various ways,[37] Colonial Williamsburg’s staff chiefly appreciated the drawings for their “sentimental appeal by virtue of Mr. Shaw’s connection with Colonial Williamsburg”[38] and “the fact that they are the handiwork of Mr. Shaw, which…will make them quite valuable to Colonial Williamsburg in the future.”[39]
Shaw’s sketches were purchased and accepted into the research archives of Colonial Williamsburg’s Architectural Department between November 1945 and January 1946. These drawings are now part of the Architectural Drawings Collection in the Special Collections wing of the Colonial Williamsburg Foundation’s John D. Rockefeller Jr. Library. While a separate collection of Shaw’s personal papers and drawings also reside within the Smithsonian Institution’s Archives of American Art in Washington, D.C.,[40] the Colonial Williamsburg Foundation is proud to possess the majority of Mr. Shaw’s drawings and correspondence associated with his meticulous and pioneering work on Williamsburg’s restoration.
ENDNOTES
[1] George H. Yetter, “Thomas Mott Shaw, F.A.I.A., 1878-1965” unpublished biography, Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation (Williamsburg, Va.: The Colonial Williamsburg Foundation).
[2] Ibid.
[3] Henry F. Withey and Elsie Rathburn Withey, Biographical Dictionary of American Architects [Deceased] (Los Angeles: Hennessey & Ingalls, Inc., 1970), 381-382.
[4] Yetter, “Thomas Mott Shaw, F.A.I.A., 1878-1965.”
[5] George H. Yetter, handwritten notes compiled from Thomas Mott Shaw Papers (in Archives of American Art, Smithsonian Institution, gift of Sarah Quinan Shaw Johnson, Concord, Ma., 1975), Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation (Williamsburg, Va.: The Colonial Williamsburg Foundation).
[6] Ibid.; see also “Colonial Williamsburg Logbook” biographical sheet on Thomas Mott Shaw, dated 15 March 1947, Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation (Williamsburg, Va.: The Colonial Williamsburg Foundation).
[7] George H. Yetter, “Designers of Beauty: Academic Training and Williamsburg’s Architectural Restoration,” Colonial Williamsburg Journal (Winter 2012): 58.
[8] Yetter, handwritten notes compiled from Thomas Mott Shaw Papers; see also “Colonial Williamsburg Logbook” biographical sheet.
[9] Will Molineux, “The Architect of Colonial Williamsburg: William Graves Perry,” Colonial Williamsburg Journal (Autumn 2004), 61.
[10] “Colonial Williamsburg Logbook” biographical sheet.
[11] Fred Frechette, “Work on Restoration Started as ‘Bit of Fun,’” Richmond Times-Dispatch (Richmond, Va.), 21 May 1956, page number unknown, Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation.
[12] Yetter, “Thomas Mott Shaw, F.A.I.A., 1878-1965.”
[13] Ibid. (T.M. Shaw quote excerpted from “Reminiscences of Thomas Mott Shaw,” Colonial Williamsburg Foundation Archives, Oral History Collection, 11), Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation (Williamsburg, Va.: The Colonial Williamsburg Foundation).
[14] Frechette, “Work on Restoration Started as ‘Bit of Fun.’”
[15] George H. Yetter, “Thomas Mott Shaw” typewritten research notes, Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation (Williamsburg, Va.: The Colonial Williamsburg Foundation).
[16] Molineux, “The Architect of Colonial Williamsburg,” 63.
[17] Ibid.
[18] Ibid.
[19] Yetter, “Thomas Mott Shaw” typewritten research notes.
[20] Molineux, 63; see also Frechette, “Work on Restoration Started as ‘Bit of Fun.’”
[21] Molineux, 63.
[22] Frechette, “Work on Restoration Started as ‘Bit of Fun.’”
[23] Ibid.
[24] Mary Miley Theobald, “The Colonial Revival: The Past that Never Dies,” Colonial Williamsburg Journal (Summer 2002), 81.
[25] Ibid., 81.
[26] Ibid., 84.
[27] Ibid., 81.
[28] Ibid., 84.
[29] Yetter, “Thomas Mott Shaw” typewritten research notes.
[30] Frechette, “Work on Restoration Started as ‘Bit of Fun.’”
[31] Ibid.
[32] Yetter, “Thomas Mott Shaw, F.A.I.A., 1878-1965.”
[33] Frechette, “Work on Restoration Started as ‘Bit of Fun.’”
[34]Carl Lounsbury, “Bracken Tenement: Block 2, Building 52,” Colonial Williamsburg Foundation website, n.d., http://research.history.org/Architectural_Research/Research_Articles/ThemeBldgs/Bracken.cfm (accessed 5 May 2014).
[35] Letter from Thomas Mott Shaw to Vernon Geddy of Williamsburg Restoration, Inc., 25 October 1944, Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation.
[36] Staff memo from B.W. Norton to Vernon Geddy of Williamsburg Restoration, Inc., 1 November 1945, Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation.
[37] Staff memo from J.A. Upshur to Kenneth Chorley of Williamsburg Restoration, Inc., 12 January 1946, Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation.
[38] Ibid.
[39] Ibid.
[40] Letter from Michael A. Grimes (archivist, Smithsonian Institution, Archives of American Art) to George H. Yetter (Associate Curator of Architectural Drawings, Colonial Williamsburg Foundation), 2 August 1989, Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation.
SUGGESTIONS FOR FURTHER READING
Chappell, Edward A. “Architects of Colonial Williamsburg” in Encyclopedia of Southern Culture, ed. by Charles
Reagan Wilson, William R. Ferris, and Ann J. Adadie. Chapel Hill: University of North Carolina Press, 1989, 59-61.
Greenspan, Anders. Creating Colonial Williamsburg: The Restoration of Virginia’s Eighteenth-Century Capitol. Chapel Hill: The University of North Carolina Press, 2002.
Hosmer, Charles Bridgham, and National Trust for Historic Preservation in the United States. Preservation Comes of Age: From Williamsburg to the National Trust, 1926-1949, Vol. 1. Charlottesville: Published for the Preservation Press, National Trust for Historic Preservation in the United States by the University Press of Virginia, 1981.
Kimball, Fiske, et al. The Restoration of Colonial Williamsburg in Virginia. New York: F.W. Dodge
Corporation, 1935.
Molineux, Will. “The Architect of Colonial Williamsburg: William Graves Perry,” Colonial Williamsburg Journal (August 2004): 58-65.
Theobald, Mary Miley. “The Colonial Revival: The Past that Never Dies,” Colonial Williamsburg Journal (Summer 2002): 81-85.
Yetter, George Humphrey. “Designers of Beauty: Academic Training and Williamsburg’s Architectural Restoration,” Colonial Williamsburg Journal (Winter 2012): 54-60.
Yetter, George Humphrey. Williamsburg Before and After: The Rebirth of Virginia's Colonial Capital. Williamsburg, Va.: Colonial Williamsburg Foundation, 1988.
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
Graphite on paper
Physical Dimensions
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45.5 x 31.5 cm
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Ayscough Shop
Subject
The topic of the resource
Ayscough Shop (Williamsburg, Va.)
Block 08. Building 05.
Historic buildings - Virginia - Williamsburg
Stores, Retail - Virginia - Williamsburg
Architecture, Colonial - Virginia - Williamsburg
Architecture, Domestic - Virginia - Williamsburg
Description
An account of the resource
<p>View of Ayscough Shop from Francis Street, 1933. The Ayscough Shop once housed the Forge and Wheel, a retail establishment, which sold decorative ironwork, pottery, and other items.</p>
<p>Christopher Ayscough, the namesake of the shop, tried operating a tavern on the site between 1768-1770. Other shopkeepers, including Catherine Rathell, Matthew Holt, and Jacob Bruce, briefly occupied the store and sold various goods to townspeople.</p>
<p>The structure survived from the eighteenth century, although it was hardly recognizable due to the enlargements and modifications made in the nineteenth century. Once restored to its eighteenth-century appearance, the building exhibited such features typical of a commercial establishment as a gable end entrance and large shop window.</p>
<p><strong><br /></strong></p>
Creator
An entity primarily responsible for making the resource
Shaw, Thomas Mott
Date
A point or period of time associated with an event in the lifecycle of the resource
1933
Date Created
Date of creation of the resource.
1933
Rights
Information about rights held in and over the resource
This material is protected by copyright law (Title 17, U.S. Code). For reproduction queries: <a href="http://research.history.org/JDRLibrary/Visual_Resources/VisualResourcePermission.cfm">Rights and reproductions</a>
Format
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jpeg
Type
The nature or genre of the resource
Image
Identifier
An unambiguous reference to the resource within a given context
D2008-COPY-1014-1001
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation
Ayscough Shop
Chimneys
Colonial Architecture
Dormer Windows
Dormers
Exteriors
Fences
Forge and Wheel
Gable End Entrances
Gates
Historic Buildings
Railings
Shutters
Signboards
Signs
Stairs
Thomas Mott Shaw
Transoms
Virginia
Weatherboarding
Williamsburg
-
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Omeka Image File
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8
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1
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768
Width
612
Dublin Core
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Title
A name given to the resource
F.S. Lincoln Photography Collection
Description
An account of the resource
The FS Lincoln Collection
Biographical Sketch
Mr. Fay S. Lincoln (known professionally as F.S. Lincoln) operated a photography studio in New York City from the 1930s until the mid 1960s. He was born in Keene, New Hampshire in 1894 and attended the Massachusetts Institute of Technology. Although he received training as an engineer, Mr. Lincoln chose to become a professional photographer in 1929, when he opened the firm of Nyholm & Lincoln in conjunction with another photographer, Peter Nyholm, in New York City. A few years later, he opened his own studio at 114 East 32nd St.1
In 1932, Lincoln began corresponding with Kenneth Chorley, President of the Colonial Williamsburg Foundation, about the possibility of contracting with the Foundation to photograph the completed restoration work at Williamsburg. Lincoln had learned that John D. Rockefeller, Jr. was looking for someone to create a master collection of photos of Williamsburg through Arthur S. Vernay, an acquaintance of Abby Aldrich Rockefeller. In his correspondence, Lincoln noted he had completed photographic assignments for many of the top architects and designers in New York, including Arthur S. Vernay, Joseph Urban, James Gamble Rogers, Voorhees, Gmelin & Walker, McKim, Mead, & White, Robert Locher, and Eugene Schoen. He also pointed out that he had sold architectural photos to many prominent magazines, including "Architectural Record," "National Geographic," "Country Life," "Architectural Forum," and "Spur."2
Lincoln's credentials, along with sample photographs and recommendations from magazine editors, enabled him to secure a contract with Colonial Williamsburg on April 22, 1935. According to the terms of the contract, Lincoln was hired to prepare a master collection of photographs and negatives that Colonial Williamsburg could sell to tourists and residents of Williamsburg, as well as use for promotional purposes. Lincoln retained the right to sell copies of his photographs at his New York studio, provided he consulted with the Foundation regarding the proposed use of the photographs. He also retained title to all negatives and copyright for all photos until the termination of his business. Plans for a traveling exhibition of Lincoln's photographs of Williamsburg were also mentioned in the contract.3
During 1935, F.S. Lincoln traveled to Williamsburg at seasonal intervals to photograph views requested by the Foundation. A panel of Colonial Williamsburg employees reviewed each series of photos and selected a group to be added to the master collection. F.S. Lincoln photos illustrated two portfolios about Colonial Williamsburg published in the "Architectural Record" in December 1935 and November 1936. Full-page black and white photos of restored buildings and gardens accompanied articles on the restoration written by Kenneth Chorley, Fiske Kimball, William G. Perry, and Arthur Shurcliff. Thus, Lincoln's photos gave the American public their first introduction to the completed restoration.
Lincoln had also been hired by Colonial Williamsburg to create a group of photographs of Williamsburg that could be exhibited. Correspondence between staff members indicates that John D. Rockefeller, Jr. hoped to mount a traveling exhibit of Williamsburg photographs. An exhibit of a selection of Lincoln's views of Williamsburg, along with photos he took for "Harper's Bazaar," "House and Garden," "House Beautiful," "Vanity Fair," "National Geographic," and "Town and Country," was held at the Rabinovitch Gallery in New York City from October 4-17, 1935.
Although Foundation employees were satisfied with the quality of Lincoln's photographs, they were dismayed by the cost of individual prints and enlargements. Memos exchanged between members of the marketing staff indicate that employees were having a hard time convincing distributors to purchase enlargements of the Lincoln photos for display in shop windows. As a result, the Foundation's agreement with F.S. Lincoln was terminated on April 21, 1936.4
Despite this setback, F.S. Lincoln secured contracts for many other architectural photography projects in the 1930s. He received numerous commissions to photograph buildings in New York City and also traveled abroad on several assignments. In 1934, he completed a portfolio of photos of Mont St. Michel and in 1938 he toured the deep South and photographed examples of antebellum architecture. Lincoln's photos were widely published in the 1930s and 1940s in such magazines as "Architectural Record," "House Beautiful," "National Geographic," "Country Life," and "Architectural Forum." In addition, he published a book of his photographs in 1946 entitled "Charleston: Photographic Studies by F.S. Lincoln."5
F.S. Lincoln continued to operate a photography studio in New York City until 1965, when he retired and moved to Center Hall, Pennsylvania to live with his sister. He forwarded all of his negatives of Williamsburg buildings to the Foundation in 1972, along with a letter stating that “the copyright of the photographs has run out, so you are free to use them as desired.”6 Upon his death in 1976, the remainder of Lincoln's archive of prints and negatives, as well as some business papers, were donated to the Pennsylvania State University Archives.
Scope and Contents
The F.S. Lincoln collection consists of black and white negatives and prints taken by Mr. Lincoln in preparation for the publication of "The Restoration of Colonial Williamsburg in Virginia," a series of articles appearing in the December 1935 and November 1936 issues of "The Architectural Record." Both issues featured a portfolio of buildings and gardens in the newly restored historic area of Williamsburg.
In order to produce a large pool of photos for use in these portfolios, Mr. Lincoln created comprehensive visual documentation of the work completed during the initial phases of the restoration (1927-1935.) He photographed the exteriors and interiors of thirty restored buildings, including the exhibition buildings open to the public, such as the Governor's Palace, the Capitol, Raleigh Tavern, Bruton Parish Church, the Wren Building, and the Powder Magazine. In addition, he captured exterior views of some of the shops open on Merchant's Square and restored buildings adapted for public use, such as the Public Library. He also photographed many of the gardens and garden ornaments throughout the restored area.
The collection is organized into series by format. Series included in the collection are negatives; bound matted and signed prints; unbound matted and signed prints; and small albums. Within each format, items are organized according to the numbering system assigned by Mr. Lincoln. The first three digits of numbers assigned to the images correspond to a particular building or subject category. For example, all images of the Capitol have numbers beginning with 325 and all miscellaneous views have numbers beginning with 365. After these first three digits, Lincoln added a P for print and then a successive number for each view. For example, the first view of the Capitol is number 325P1. An “LC” prefix has been added to all image numbers by the Colonial Williamsburg Foundation to identify the images as coming from the Lincoln Collection.
Endnotes
1 Champagne, Anne, “Fay S. Lincoln Collection,” History of Photography 17, (Spring 1993): 127-128.
2 F.S. Lincoln to B.W. Norton, October 18, 1933. Colonial Williamsburg Foundation Archives.
3 Agreement dated April 22, 1935 between Colonial Williamsburg, Inc. and F.S. Lincoln, Colonial Williamsburg Foundation Archives.
4 Mr. Norton to Mr. Darling, February 22, 1937; Kenneth Chorley to F.S. Lincoln, April 6, 1937, Colonial Williamsburg Foundation Archives.
5 Champagne, Anne, “Fay S. Lincoln Collection,” History of Photography 17 (Spring 1993): 128.
6 F.S. Lincoln to James R. Short, May 15, 1972, Colonial Williamsburg Foundation Archives.
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
Gelatin or collodian printing out paper with platinum toning, mounted on board
Physical Dimensions
The actual physical size of the original image.
8x10 inches
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Ayscough Shop, Exterior Detail
Subject
The topic of the resource
Ayscough Shop (Williamsburg, Va.)
Block 08. Building 05.
Historic buildings - Virginia - Williamsburg
Stores, Retail - Virginia - Williamsburg
Description
An account of the resource
Entrance of the Ayscough Shop in 1935, when it housed the Forge and Wheel, a retail establishment. As noted on the sign, the shop sold decorative ironwork, pottery, and other items.
Christopher Ayscough, the namesake of the shop, tried operating a tavern on the site between 1768-1770. Other shopkeepers, including Catherine Rathell, Matthew Holt, and Jacob Bruce, briefly occupied the store and sold various goods to townspeople.
The structure survived from the eighteenth century, although it was hardly recognizable due to the enlargements and modifications made in the nineteenth century. Once restored to its eighteenth-century appearance, the building exhibited such features typical of a commercial establishment as a gable end entrance and large shop window.
Creator
An entity primarily responsible for making the resource
Lincoln, F.S.
Date
A point or period of time associated with an event in the lifecycle of the resource
1935
Date Created
Date of creation of the resource.
1935
Rights
Information about rights held in and over the resource
This material is protected by copyright law (Title 17, U.S. Code). For reproduction queries: <a href="http://research.history.org/JDRLibrary/Visual_Resources/VisualResourcePermission.cfm">Rights and reproductions</a>
Format
The file format, physical medium, or dimensions of the resource
jpeg
Type
The nature or genre of the resource
Image
Identifier
An unambiguous reference to the resource within a given context
LC356P3
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation
Ayscough Shop
Bulkheads
Cellars
Chimneys
Dormer Windows
Dormers
Exteriors
F.S. Lincoln
Fences
Forge and Wheel
Gable End Entrances
Gates
Historic Buildings
Railings
Shutters
Signboards
Signs
Stairs
Transoms
Virginia
Weatherboarding
Williamsburg
-
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Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
Bit Depth
8
Channels
1
Height
768
Width
611
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
F.S. Lincoln Photography Collection
Description
An account of the resource
The FS Lincoln Collection
Biographical Sketch
Mr. Fay S. Lincoln (known professionally as F.S. Lincoln) operated a photography studio in New York City from the 1930s until the mid 1960s. He was born in Keene, New Hampshire in 1894 and attended the Massachusetts Institute of Technology. Although he received training as an engineer, Mr. Lincoln chose to become a professional photographer in 1929, when he opened the firm of Nyholm & Lincoln in conjunction with another photographer, Peter Nyholm, in New York City. A few years later, he opened his own studio at 114 East 32nd St.1
In 1932, Lincoln began corresponding with Kenneth Chorley, President of the Colonial Williamsburg Foundation, about the possibility of contracting with the Foundation to photograph the completed restoration work at Williamsburg. Lincoln had learned that John D. Rockefeller, Jr. was looking for someone to create a master collection of photos of Williamsburg through Arthur S. Vernay, an acquaintance of Abby Aldrich Rockefeller. In his correspondence, Lincoln noted he had completed photographic assignments for many of the top architects and designers in New York, including Arthur S. Vernay, Joseph Urban, James Gamble Rogers, Voorhees, Gmelin & Walker, McKim, Mead, & White, Robert Locher, and Eugene Schoen. He also pointed out that he had sold architectural photos to many prominent magazines, including "Architectural Record," "National Geographic," "Country Life," "Architectural Forum," and "Spur."2
Lincoln's credentials, along with sample photographs and recommendations from magazine editors, enabled him to secure a contract with Colonial Williamsburg on April 22, 1935. According to the terms of the contract, Lincoln was hired to prepare a master collection of photographs and negatives that Colonial Williamsburg could sell to tourists and residents of Williamsburg, as well as use for promotional purposes. Lincoln retained the right to sell copies of his photographs at his New York studio, provided he consulted with the Foundation regarding the proposed use of the photographs. He also retained title to all negatives and copyright for all photos until the termination of his business. Plans for a traveling exhibition of Lincoln's photographs of Williamsburg were also mentioned in the contract.3
During 1935, F.S. Lincoln traveled to Williamsburg at seasonal intervals to photograph views requested by the Foundation. A panel of Colonial Williamsburg employees reviewed each series of photos and selected a group to be added to the master collection. F.S. Lincoln photos illustrated two portfolios about Colonial Williamsburg published in the "Architectural Record" in December 1935 and November 1936. Full-page black and white photos of restored buildings and gardens accompanied articles on the restoration written by Kenneth Chorley, Fiske Kimball, William G. Perry, and Arthur Shurcliff. Thus, Lincoln's photos gave the American public their first introduction to the completed restoration.
Lincoln had also been hired by Colonial Williamsburg to create a group of photographs of Williamsburg that could be exhibited. Correspondence between staff members indicates that John D. Rockefeller, Jr. hoped to mount a traveling exhibit of Williamsburg photographs. An exhibit of a selection of Lincoln's views of Williamsburg, along with photos he took for "Harper's Bazaar," "House and Garden," "House Beautiful," "Vanity Fair," "National Geographic," and "Town and Country," was held at the Rabinovitch Gallery in New York City from October 4-17, 1935.
Although Foundation employees were satisfied with the quality of Lincoln's photographs, they were dismayed by the cost of individual prints and enlargements. Memos exchanged between members of the marketing staff indicate that employees were having a hard time convincing distributors to purchase enlargements of the Lincoln photos for display in shop windows. As a result, the Foundation's agreement with F.S. Lincoln was terminated on April 21, 1936.4
Despite this setback, F.S. Lincoln secured contracts for many other architectural photography projects in the 1930s. He received numerous commissions to photograph buildings in New York City and also traveled abroad on several assignments. In 1934, he completed a portfolio of photos of Mont St. Michel and in 1938 he toured the deep South and photographed examples of antebellum architecture. Lincoln's photos were widely published in the 1930s and 1940s in such magazines as "Architectural Record," "House Beautiful," "National Geographic," "Country Life," and "Architectural Forum." In addition, he published a book of his photographs in 1946 entitled "Charleston: Photographic Studies by F.S. Lincoln."5
F.S. Lincoln continued to operate a photography studio in New York City until 1965, when he retired and moved to Center Hall, Pennsylvania to live with his sister. He forwarded all of his negatives of Williamsburg buildings to the Foundation in 1972, along with a letter stating that “the copyright of the photographs has run out, so you are free to use them as desired.”6 Upon his death in 1976, the remainder of Lincoln's archive of prints and negatives, as well as some business papers, were donated to the Pennsylvania State University Archives.
Scope and Contents
The F.S. Lincoln collection consists of black and white negatives and prints taken by Mr. Lincoln in preparation for the publication of "The Restoration of Colonial Williamsburg in Virginia," a series of articles appearing in the December 1935 and November 1936 issues of "The Architectural Record." Both issues featured a portfolio of buildings and gardens in the newly restored historic area of Williamsburg.
In order to produce a large pool of photos for use in these portfolios, Mr. Lincoln created comprehensive visual documentation of the work completed during the initial phases of the restoration (1927-1935.) He photographed the exteriors and interiors of thirty restored buildings, including the exhibition buildings open to the public, such as the Governor's Palace, the Capitol, Raleigh Tavern, Bruton Parish Church, the Wren Building, and the Powder Magazine. In addition, he captured exterior views of some of the shops open on Merchant's Square and restored buildings adapted for public use, such as the Public Library. He also photographed many of the gardens and garden ornaments throughout the restored area.
The collection is organized into series by format. Series included in the collection are negatives; bound matted and signed prints; unbound matted and signed prints; and small albums. Within each format, items are organized according to the numbering system assigned by Mr. Lincoln. The first three digits of numbers assigned to the images correspond to a particular building or subject category. For example, all images of the Capitol have numbers beginning with 325 and all miscellaneous views have numbers beginning with 365. After these first three digits, Lincoln added a P for print and then a successive number for each view. For example, the first view of the Capitol is number 325P1. An “LC” prefix has been added to all image numbers by the Colonial Williamsburg Foundation to identify the images as coming from the Lincoln Collection.
Endnotes
1 Champagne, Anne, “Fay S. Lincoln Collection,” History of Photography 17, (Spring 1993): 127-128.
2 F.S. Lincoln to B.W. Norton, October 18, 1933. Colonial Williamsburg Foundation Archives.
3 Agreement dated April 22, 1935 between Colonial Williamsburg, Inc. and F.S. Lincoln, Colonial Williamsburg Foundation Archives.
4 Mr. Norton to Mr. Darling, February 22, 1937; Kenneth Chorley to F.S. Lincoln, April 6, 1937, Colonial Williamsburg Foundation Archives.
5 Champagne, Anne, “Fay S. Lincoln Collection,” History of Photography 17 (Spring 1993): 128.
6 F.S. Lincoln to James R. Short, May 15, 1972, Colonial Williamsburg Foundation Archives.
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
Gelatin or collodian printing out paper with platinum toning, mounted on board
Physical Dimensions
The actual physical size of the original image.
8x10 inches
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Finnie House, View From Street
Subject
The topic of the resource
William Finnie House (Williamsburg, Va.)
Block 02. Building 07.
Architecture, Domestic - Virginia - Williamsburg
Architecture, Colonial - Virginia - Williamsburg
Historic buildings - Virginia - Williamsburg
Description
An account of the resource
View from the Ayscough property looking across Francis Street towards the William Finnie House. The Ayscough Shop's "Forge and Wheel" sign is visible in the foreground.
One of the eighty-eight original buildings at Colonial Williamsburg, the Finnie House is named after William Finnie. He resided in the home in the 1770s and early 1780s and held the office of quartermaster general of the Southern Department during the American Revolution.
The Finnie House holds the distinction of retaining an appearance most closely matching its eighteenth-century form throughout the nineteenth and early twentieth centuries. Restoration efforts in 1932 and 1952 mainly focused upon bringing a few elements of the entrance porch, such as the Doric columns and architrave, back to their original classical forms.
Creator
An entity primarily responsible for making the resource
Lincoln, F.S.
Date
A point or period of time associated with an event in the lifecycle of the resource
1935
Date Created
Date of creation of the resource.
1935
Rights
Information about rights held in and over the resource
This material is protected by copyright law (Title 17, U.S. Code). For reproduction queries: <a href="http://research.history.org/JDRLibrary/Visual_Resources/VisualResourcePermission.cfm">Rights and reproductions</a>
Format
The file format, physical medium, or dimensions of the resource
jpeg
Type
The nature or genre of the resource
Image
Identifier
An unambiguous reference to the resource within a given context
LC357P6
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation
Architraves
Bull's-Eye Windows
Chimneys
Colonial Architecture
Columns
Cornices
Domestic Architecture
Exteriors
F.S. Lincoln
Fences
Forge and Wheel
Francis Street
Gates
Historic Buildings
Oculus Windows
Pediments
Porches
Porticoes
Shutters
Signboards
Signs
Street Scenes
Virginia
Weatherboarding
Williamsburg
-
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47aa9afe60e18c26e945efecae852a97
Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
Bit Depth
8
Channels
3
Height
768
Width
981
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
F.S. Lincoln Photography Collection
Description
An account of the resource
The FS Lincoln Collection
Biographical Sketch
Mr. Fay S. Lincoln (known professionally as F.S. Lincoln) operated a photography studio in New York City from the 1930s until the mid 1960s. He was born in Keene, New Hampshire in 1894 and attended the Massachusetts Institute of Technology. Although he received training as an engineer, Mr. Lincoln chose to become a professional photographer in 1929, when he opened the firm of Nyholm & Lincoln in conjunction with another photographer, Peter Nyholm, in New York City. A few years later, he opened his own studio at 114 East 32nd St.1
In 1932, Lincoln began corresponding with Kenneth Chorley, President of the Colonial Williamsburg Foundation, about the possibility of contracting with the Foundation to photograph the completed restoration work at Williamsburg. Lincoln had learned that John D. Rockefeller, Jr. was looking for someone to create a master collection of photos of Williamsburg through Arthur S. Vernay, an acquaintance of Abby Aldrich Rockefeller. In his correspondence, Lincoln noted he had completed photographic assignments for many of the top architects and designers in New York, including Arthur S. Vernay, Joseph Urban, James Gamble Rogers, Voorhees, Gmelin & Walker, McKim, Mead, & White, Robert Locher, and Eugene Schoen. He also pointed out that he had sold architectural photos to many prominent magazines, including "Architectural Record," "National Geographic," "Country Life," "Architectural Forum," and "Spur."2
Lincoln's credentials, along with sample photographs and recommendations from magazine editors, enabled him to secure a contract with Colonial Williamsburg on April 22, 1935. According to the terms of the contract, Lincoln was hired to prepare a master collection of photographs and negatives that Colonial Williamsburg could sell to tourists and residents of Williamsburg, as well as use for promotional purposes. Lincoln retained the right to sell copies of his photographs at his New York studio, provided he consulted with the Foundation regarding the proposed use of the photographs. He also retained title to all negatives and copyright for all photos until the termination of his business. Plans for a traveling exhibition of Lincoln's photographs of Williamsburg were also mentioned in the contract.3
During 1935, F.S. Lincoln traveled to Williamsburg at seasonal intervals to photograph views requested by the Foundation. A panel of Colonial Williamsburg employees reviewed each series of photos and selected a group to be added to the master collection. F.S. Lincoln photos illustrated two portfolios about Colonial Williamsburg published in the "Architectural Record" in December 1935 and November 1936. Full-page black and white photos of restored buildings and gardens accompanied articles on the restoration written by Kenneth Chorley, Fiske Kimball, William G. Perry, and Arthur Shurcliff. Thus, Lincoln's photos gave the American public their first introduction to the completed restoration.
Lincoln had also been hired by Colonial Williamsburg to create a group of photographs of Williamsburg that could be exhibited. Correspondence between staff members indicates that John D. Rockefeller, Jr. hoped to mount a traveling exhibit of Williamsburg photographs. An exhibit of a selection of Lincoln's views of Williamsburg, along with photos he took for "Harper's Bazaar," "House and Garden," "House Beautiful," "Vanity Fair," "National Geographic," and "Town and Country," was held at the Rabinovitch Gallery in New York City from October 4-17, 1935.
Although Foundation employees were satisfied with the quality of Lincoln's photographs, they were dismayed by the cost of individual prints and enlargements. Memos exchanged between members of the marketing staff indicate that employees were having a hard time convincing distributors to purchase enlargements of the Lincoln photos for display in shop windows. As a result, the Foundation's agreement with F.S. Lincoln was terminated on April 21, 1936.4
Despite this setback, F.S. Lincoln secured contracts for many other architectural photography projects in the 1930s. He received numerous commissions to photograph buildings in New York City and also traveled abroad on several assignments. In 1934, he completed a portfolio of photos of Mont St. Michel and in 1938 he toured the deep South and photographed examples of antebellum architecture. Lincoln's photos were widely published in the 1930s and 1940s in such magazines as "Architectural Record," "House Beautiful," "National Geographic," "Country Life," and "Architectural Forum." In addition, he published a book of his photographs in 1946 entitled "Charleston: Photographic Studies by F.S. Lincoln."5
F.S. Lincoln continued to operate a photography studio in New York City until 1965, when he retired and moved to Center Hall, Pennsylvania to live with his sister. He forwarded all of his negatives of Williamsburg buildings to the Foundation in 1972, along with a letter stating that “the copyright of the photographs has run out, so you are free to use them as desired.”6 Upon his death in 1976, the remainder of Lincoln's archive of prints and negatives, as well as some business papers, were donated to the Pennsylvania State University Archives.
Scope and Contents
The F.S. Lincoln collection consists of black and white negatives and prints taken by Mr. Lincoln in preparation for the publication of "The Restoration of Colonial Williamsburg in Virginia," a series of articles appearing in the December 1935 and November 1936 issues of "The Architectural Record." Both issues featured a portfolio of buildings and gardens in the newly restored historic area of Williamsburg.
In order to produce a large pool of photos for use in these portfolios, Mr. Lincoln created comprehensive visual documentation of the work completed during the initial phases of the restoration (1927-1935.) He photographed the exteriors and interiors of thirty restored buildings, including the exhibition buildings open to the public, such as the Governor's Palace, the Capitol, Raleigh Tavern, Bruton Parish Church, the Wren Building, and the Powder Magazine. In addition, he captured exterior views of some of the shops open on Merchant's Square and restored buildings adapted for public use, such as the Public Library. He also photographed many of the gardens and garden ornaments throughout the restored area.
The collection is organized into series by format. Series included in the collection are negatives; bound matted and signed prints; unbound matted and signed prints; and small albums. Within each format, items are organized according to the numbering system assigned by Mr. Lincoln. The first three digits of numbers assigned to the images correspond to a particular building or subject category. For example, all images of the Capitol have numbers beginning with 325 and all miscellaneous views have numbers beginning with 365. After these first three digits, Lincoln added a P for print and then a successive number for each view. For example, the first view of the Capitol is number 325P1. An “LC” prefix has been added to all image numbers by the Colonial Williamsburg Foundation to identify the images as coming from the Lincoln Collection.
Endnotes
1 Champagne, Anne, “Fay S. Lincoln Collection,” History of Photography 17, (Spring 1993): 127-128.
2 F.S. Lincoln to B.W. Norton, October 18, 1933. Colonial Williamsburg Foundation Archives.
3 Agreement dated April 22, 1935 between Colonial Williamsburg, Inc. and F.S. Lincoln, Colonial Williamsburg Foundation Archives.
4 Mr. Norton to Mr. Darling, February 22, 1937; Kenneth Chorley to F.S. Lincoln, April 6, 1937, Colonial Williamsburg Foundation Archives.
5 Champagne, Anne, “Fay S. Lincoln Collection,” History of Photography 17 (Spring 1993): 128.
6 F.S. Lincoln to James R. Short, May 15, 1972, Colonial Williamsburg Foundation Archives.
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
Gelatin or collodian printing out paper with platinum toning, mounted on board
Physical Dimensions
The actual physical size of the original image.
8x10 inches
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Travis House, Front Entrance
Subject
The topic of the resource
Travis House (Williamsburg, Va.)
Block 13. Building 23A.
Restaurants - Virginia - Williamsburg
Historic buildings - Virginia - Williamsburg
Description
An account of the resource
A popular restaurant for tourists in the 1930s, the Travis House stood for a period of time along Duke of Gloucester Street on the site formerly occupied by the Palace Theater. Its menu featured dishes inspired by colonial recipes. The structure moved back to its original location at the northeast corner of Francis and Henry Streets in the early 1950s.
Colonel Edward Champion Travis built the home in 1765 and it acquired several additions as successive owners occupied the site. Travis served in the House of Burgesses and was its most prominent colonial occupant. The house became a residence for superintendents of Eastern State Hospital in the nineteenth and early twentieth centuries.
Eastern State Hospital turned the building over to the Williamsburg Restoration in 1929 and this led to its temporary move to Duke of Gloucester Street to become a restaurant between 1930-1951.
Creator
An entity primarily responsible for making the resource
Lincoln, F.S.
Date
A point or period of time associated with an event in the lifecycle of the resource
1935
Date Created
Date of creation of the resource.
1935
Rights
Information about rights held in and over the resource
This material is protected by copyright law (Title 17, U.S. Code). For reproduction queries: <a href="http://research.history.org/JDRLibrary/Visual_Resources/VisualResourcePermission.cfm">Rights and reproductions</a>
Format
The file format, physical medium, or dimensions of the resource
jpeg
Type
The nature or genre of the resource
Image
Identifier
An unambiguous reference to the resource within a given context
LC360P1
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation
Chimneys
Dormer Windows
Dormers
Duke of Gloucester Street
Exteriors
F.S. Lincoln
Fences
Gambrel Roofs
Historic Buildings
Hitching Posts
Railings
Restaurants
Shutters
Signboards
Signs
Stairs
Transoms
Travis House
Virginia
Weatherboarding
Williamsburg
-
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134f103b7c3806663a76f88b5b45d313
Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
Bit Depth
8
Channels
1
Height
768
Width
604
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
F.S. Lincoln Photography Collection
Description
An account of the resource
The FS Lincoln Collection
Biographical Sketch
Mr. Fay S. Lincoln (known professionally as F.S. Lincoln) operated a photography studio in New York City from the 1930s until the mid 1960s. He was born in Keene, New Hampshire in 1894 and attended the Massachusetts Institute of Technology. Although he received training as an engineer, Mr. Lincoln chose to become a professional photographer in 1929, when he opened the firm of Nyholm & Lincoln in conjunction with another photographer, Peter Nyholm, in New York City. A few years later, he opened his own studio at 114 East 32nd St.1
In 1932, Lincoln began corresponding with Kenneth Chorley, President of the Colonial Williamsburg Foundation, about the possibility of contracting with the Foundation to photograph the completed restoration work at Williamsburg. Lincoln had learned that John D. Rockefeller, Jr. was looking for someone to create a master collection of photos of Williamsburg through Arthur S. Vernay, an acquaintance of Abby Aldrich Rockefeller. In his correspondence, Lincoln noted he had completed photographic assignments for many of the top architects and designers in New York, including Arthur S. Vernay, Joseph Urban, James Gamble Rogers, Voorhees, Gmelin & Walker, McKim, Mead, & White, Robert Locher, and Eugene Schoen. He also pointed out that he had sold architectural photos to many prominent magazines, including "Architectural Record," "National Geographic," "Country Life," "Architectural Forum," and "Spur."2
Lincoln's credentials, along with sample photographs and recommendations from magazine editors, enabled him to secure a contract with Colonial Williamsburg on April 22, 1935. According to the terms of the contract, Lincoln was hired to prepare a master collection of photographs and negatives that Colonial Williamsburg could sell to tourists and residents of Williamsburg, as well as use for promotional purposes. Lincoln retained the right to sell copies of his photographs at his New York studio, provided he consulted with the Foundation regarding the proposed use of the photographs. He also retained title to all negatives and copyright for all photos until the termination of his business. Plans for a traveling exhibition of Lincoln's photographs of Williamsburg were also mentioned in the contract.3
During 1935, F.S. Lincoln traveled to Williamsburg at seasonal intervals to photograph views requested by the Foundation. A panel of Colonial Williamsburg employees reviewed each series of photos and selected a group to be added to the master collection. F.S. Lincoln photos illustrated two portfolios about Colonial Williamsburg published in the "Architectural Record" in December 1935 and November 1936. Full-page black and white photos of restored buildings and gardens accompanied articles on the restoration written by Kenneth Chorley, Fiske Kimball, William G. Perry, and Arthur Shurcliff. Thus, Lincoln's photos gave the American public their first introduction to the completed restoration.
Lincoln had also been hired by Colonial Williamsburg to create a group of photographs of Williamsburg that could be exhibited. Correspondence between staff members indicates that John D. Rockefeller, Jr. hoped to mount a traveling exhibit of Williamsburg photographs. An exhibit of a selection of Lincoln's views of Williamsburg, along with photos he took for "Harper's Bazaar," "House and Garden," "House Beautiful," "Vanity Fair," "National Geographic," and "Town and Country," was held at the Rabinovitch Gallery in New York City from October 4-17, 1935.
Although Foundation employees were satisfied with the quality of Lincoln's photographs, they were dismayed by the cost of individual prints and enlargements. Memos exchanged between members of the marketing staff indicate that employees were having a hard time convincing distributors to purchase enlargements of the Lincoln photos for display in shop windows. As a result, the Foundation's agreement with F.S. Lincoln was terminated on April 21, 1936.4
Despite this setback, F.S. Lincoln secured contracts for many other architectural photography projects in the 1930s. He received numerous commissions to photograph buildings in New York City and also traveled abroad on several assignments. In 1934, he completed a portfolio of photos of Mont St. Michel and in 1938 he toured the deep South and photographed examples of antebellum architecture. Lincoln's photos were widely published in the 1930s and 1940s in such magazines as "Architectural Record," "House Beautiful," "National Geographic," "Country Life," and "Architectural Forum." In addition, he published a book of his photographs in 1946 entitled "Charleston: Photographic Studies by F.S. Lincoln."5
F.S. Lincoln continued to operate a photography studio in New York City until 1965, when he retired and moved to Center Hall, Pennsylvania to live with his sister. He forwarded all of his negatives of Williamsburg buildings to the Foundation in 1972, along with a letter stating that “the copyright of the photographs has run out, so you are free to use them as desired.”6 Upon his death in 1976, the remainder of Lincoln's archive of prints and negatives, as well as some business papers, were donated to the Pennsylvania State University Archives.
Scope and Contents
The F.S. Lincoln collection consists of black and white negatives and prints taken by Mr. Lincoln in preparation for the publication of "The Restoration of Colonial Williamsburg in Virginia," a series of articles appearing in the December 1935 and November 1936 issues of "The Architectural Record." Both issues featured a portfolio of buildings and gardens in the newly restored historic area of Williamsburg.
In order to produce a large pool of photos for use in these portfolios, Mr. Lincoln created comprehensive visual documentation of the work completed during the initial phases of the restoration (1927-1935.) He photographed the exteriors and interiors of thirty restored buildings, including the exhibition buildings open to the public, such as the Governor's Palace, the Capitol, Raleigh Tavern, Bruton Parish Church, the Wren Building, and the Powder Magazine. In addition, he captured exterior views of some of the shops open on Merchant's Square and restored buildings adapted for public use, such as the Public Library. He also photographed many of the gardens and garden ornaments throughout the restored area.
The collection is organized into series by format. Series included in the collection are negatives; bound matted and signed prints; unbound matted and signed prints; and small albums. Within each format, items are organized according to the numbering system assigned by Mr. Lincoln. The first three digits of numbers assigned to the images correspond to a particular building or subject category. For example, all images of the Capitol have numbers beginning with 325 and all miscellaneous views have numbers beginning with 365. After these first three digits, Lincoln added a P for print and then a successive number for each view. For example, the first view of the Capitol is number 325P1. An “LC” prefix has been added to all image numbers by the Colonial Williamsburg Foundation to identify the images as coming from the Lincoln Collection.
Endnotes
1 Champagne, Anne, “Fay S. Lincoln Collection,” History of Photography 17, (Spring 1993): 127-128.
2 F.S. Lincoln to B.W. Norton, October 18, 1933. Colonial Williamsburg Foundation Archives.
3 Agreement dated April 22, 1935 between Colonial Williamsburg, Inc. and F.S. Lincoln, Colonial Williamsburg Foundation Archives.
4 Mr. Norton to Mr. Darling, February 22, 1937; Kenneth Chorley to F.S. Lincoln, April 6, 1937, Colonial Williamsburg Foundation Archives.
5 Champagne, Anne, “Fay S. Lincoln Collection,” History of Photography 17 (Spring 1993): 128.
6 F.S. Lincoln to James R. Short, May 15, 1972, Colonial Williamsburg Foundation Archives.
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
Gelatin or collodian printing out paper with platinum toning, mounted on board
Physical Dimensions
The actual physical size of the original image.
8x10 inches
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Travis House, Entrance Detail
Subject
The topic of the resource
Travis House (Williamsburg, Va.)
Block 13. Building 23A.
Restaurants - Virginia - Williamsburg
Historic buildings - Virginia - Williamsburg
Description
An account of the resource
A popular restaurant for tourists in the 1930s, the Travis House stood for a period of time along Duke of Gloucester Street on the site formerly occupied by the Palace Theatre. Its menu featured dishes inspired by colonial recipes. The structure moved back to its original location at the northeast corner of Francis and Henry Streets in the early 1950s.
Colonel Edward Champion Travis built the home in 1765 and it acquired several additions as successive owners occupied the site. Travis served in the House of Burgesses and was its most prominent colonial occupant. The house became a residence for superintendents of Eastern State Hospital in the nineteenth and early twentieth centuries.
Eastern State Hospital turned the building over to the Williamsburg Restoration in 1929 and this led to its temporary move to Duke of Gloucester Street to become a restaurant between 1930-1951.
Creator
An entity primarily responsible for making the resource
Lincoln, F.S.
Date
A point or period of time associated with an event in the lifecycle of the resource
1935
Date Created
Date of creation of the resource.
1935
Rights
Information about rights held in and over the resource
This material is protected by copyright law (Title 17, U.S. Code). For reproduction queries: <a href="http://research.history.org/JDRLibrary/Visual_Resources/VisualResourcePermission.cfm">Rights and reproductions</a>
Format
The file format, physical medium, or dimensions of the resource
jpeg
Type
The nature or genre of the resource
Image
Identifier
An unambiguous reference to the resource within a given context
LC360P2
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation
Chimneys
Dormer Windows
Dormers
Duke of Gloucester Street
Exteriors
F.S. Lincoln
Fences
Gambrel Roofs
Historic Buildings
Railings
Restaurants
Shutters
Signboards
Signs
Stairs
Travis House
Virginia
Weatherboarding
Williamsburg
-
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Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
Bit Depth
8
Channels
3
Height
768
Width
968
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
F.S. Lincoln Photography Collection
Description
An account of the resource
The FS Lincoln Collection
Biographical Sketch
Mr. Fay S. Lincoln (known professionally as F.S. Lincoln) operated a photography studio in New York City from the 1930s until the mid 1960s. He was born in Keene, New Hampshire in 1894 and attended the Massachusetts Institute of Technology. Although he received training as an engineer, Mr. Lincoln chose to become a professional photographer in 1929, when he opened the firm of Nyholm & Lincoln in conjunction with another photographer, Peter Nyholm, in New York City. A few years later, he opened his own studio at 114 East 32nd St.1
In 1932, Lincoln began corresponding with Kenneth Chorley, President of the Colonial Williamsburg Foundation, about the possibility of contracting with the Foundation to photograph the completed restoration work at Williamsburg. Lincoln had learned that John D. Rockefeller, Jr. was looking for someone to create a master collection of photos of Williamsburg through Arthur S. Vernay, an acquaintance of Abby Aldrich Rockefeller. In his correspondence, Lincoln noted he had completed photographic assignments for many of the top architects and designers in New York, including Arthur S. Vernay, Joseph Urban, James Gamble Rogers, Voorhees, Gmelin & Walker, McKim, Mead, & White, Robert Locher, and Eugene Schoen. He also pointed out that he had sold architectural photos to many prominent magazines, including "Architectural Record," "National Geographic," "Country Life," "Architectural Forum," and "Spur."2
Lincoln's credentials, along with sample photographs and recommendations from magazine editors, enabled him to secure a contract with Colonial Williamsburg on April 22, 1935. According to the terms of the contract, Lincoln was hired to prepare a master collection of photographs and negatives that Colonial Williamsburg could sell to tourists and residents of Williamsburg, as well as use for promotional purposes. Lincoln retained the right to sell copies of his photographs at his New York studio, provided he consulted with the Foundation regarding the proposed use of the photographs. He also retained title to all negatives and copyright for all photos until the termination of his business. Plans for a traveling exhibition of Lincoln's photographs of Williamsburg were also mentioned in the contract.3
During 1935, F.S. Lincoln traveled to Williamsburg at seasonal intervals to photograph views requested by the Foundation. A panel of Colonial Williamsburg employees reviewed each series of photos and selected a group to be added to the master collection. F.S. Lincoln photos illustrated two portfolios about Colonial Williamsburg published in the "Architectural Record" in December 1935 and November 1936. Full-page black and white photos of restored buildings and gardens accompanied articles on the restoration written by Kenneth Chorley, Fiske Kimball, William G. Perry, and Arthur Shurcliff. Thus, Lincoln's photos gave the American public their first introduction to the completed restoration.
Lincoln had also been hired by Colonial Williamsburg to create a group of photographs of Williamsburg that could be exhibited. Correspondence between staff members indicates that John D. Rockefeller, Jr. hoped to mount a traveling exhibit of Williamsburg photographs. An exhibit of a selection of Lincoln's views of Williamsburg, along with photos he took for "Harper's Bazaar," "House and Garden," "House Beautiful," "Vanity Fair," "National Geographic," and "Town and Country," was held at the Rabinovitch Gallery in New York City from October 4-17, 1935.
Although Foundation employees were satisfied with the quality of Lincoln's photographs, they were dismayed by the cost of individual prints and enlargements. Memos exchanged between members of the marketing staff indicate that employees were having a hard time convincing distributors to purchase enlargements of the Lincoln photos for display in shop windows. As a result, the Foundation's agreement with F.S. Lincoln was terminated on April 21, 1936.4
Despite this setback, F.S. Lincoln secured contracts for many other architectural photography projects in the 1930s. He received numerous commissions to photograph buildings in New York City and also traveled abroad on several assignments. In 1934, he completed a portfolio of photos of Mont St. Michel and in 1938 he toured the deep South and photographed examples of antebellum architecture. Lincoln's photos were widely published in the 1930s and 1940s in such magazines as "Architectural Record," "House Beautiful," "National Geographic," "Country Life," and "Architectural Forum." In addition, he published a book of his photographs in 1946 entitled "Charleston: Photographic Studies by F.S. Lincoln."5
F.S. Lincoln continued to operate a photography studio in New York City until 1965, when he retired and moved to Center Hall, Pennsylvania to live with his sister. He forwarded all of his negatives of Williamsburg buildings to the Foundation in 1972, along with a letter stating that “the copyright of the photographs has run out, so you are free to use them as desired.”6 Upon his death in 1976, the remainder of Lincoln's archive of prints and negatives, as well as some business papers, were donated to the Pennsylvania State University Archives.
Scope and Contents
The F.S. Lincoln collection consists of black and white negatives and prints taken by Mr. Lincoln in preparation for the publication of "The Restoration of Colonial Williamsburg in Virginia," a series of articles appearing in the December 1935 and November 1936 issues of "The Architectural Record." Both issues featured a portfolio of buildings and gardens in the newly restored historic area of Williamsburg.
In order to produce a large pool of photos for use in these portfolios, Mr. Lincoln created comprehensive visual documentation of the work completed during the initial phases of the restoration (1927-1935.) He photographed the exteriors and interiors of thirty restored buildings, including the exhibition buildings open to the public, such as the Governor's Palace, the Capitol, Raleigh Tavern, Bruton Parish Church, the Wren Building, and the Powder Magazine. In addition, he captured exterior views of some of the shops open on Merchant's Square and restored buildings adapted for public use, such as the Public Library. He also photographed many of the gardens and garden ornaments throughout the restored area.
The collection is organized into series by format. Series included in the collection are negatives; bound matted and signed prints; unbound matted and signed prints; and small albums. Within each format, items are organized according to the numbering system assigned by Mr. Lincoln. The first three digits of numbers assigned to the images correspond to a particular building or subject category. For example, all images of the Capitol have numbers beginning with 325 and all miscellaneous views have numbers beginning with 365. After these first three digits, Lincoln added a P for print and then a successive number for each view. For example, the first view of the Capitol is number 325P1. An “LC” prefix has been added to all image numbers by the Colonial Williamsburg Foundation to identify the images as coming from the Lincoln Collection.
Endnotes
1 Champagne, Anne, “Fay S. Lincoln Collection,” History of Photography 17, (Spring 1993): 127-128.
2 F.S. Lincoln to B.W. Norton, October 18, 1933. Colonial Williamsburg Foundation Archives.
3 Agreement dated April 22, 1935 between Colonial Williamsburg, Inc. and F.S. Lincoln, Colonial Williamsburg Foundation Archives.
4 Mr. Norton to Mr. Darling, February 22, 1937; Kenneth Chorley to F.S. Lincoln, April 6, 1937, Colonial Williamsburg Foundation Archives.
5 Champagne, Anne, “Fay S. Lincoln Collection,” History of Photography 17 (Spring 1993): 128.
6 F.S. Lincoln to James R. Short, May 15, 1972, Colonial Williamsburg Foundation Archives.
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
Gelatin or collodian printing out paper with platinum toning, mounted on board
Physical Dimensions
The actual physical size of the original image.
8x10 inches
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Travis House, Exterior
Subject
The topic of the resource
Travis House (Williamsburg, Va.)
Historic buildings - Virginia - Williamsburg
Architecture, Domestic - Virginia - Williamsburg
Block 13. Building 23A.
Restaurants - Virginia - Williamsburg
Description
An account of the resource
A popular restaurant for tourists in the 1930s, the Travis House served food inspired by colonial recipes. It stood for a period of time along Duke of Gloucester Street on the site formerly occupied by the Palace Theatre (Block 13, Building 23A). The structure moved back to its original location at the northeast corner of Francis and Henry Streets in the early 1950s (Block 14, Building 4).
Colonel Edward Champion Travis built the home in 1765 and it acquired several additions as successive owners occupied the site. Travis served in the House of Burgesses and was its most prominent colonial occupant. The house became a residence for superintendents of Eastern State Hospital in the nineteenth and early twentieth centuries.
Eastern State Hospital turned the building over to the Williamsburg Restoration in 1929 and this led to its temporary move to Duke of Gloucester Street to become a restaurant.
Creator
An entity primarily responsible for making the resource
Lincoln, F.S.
Date
A point or period of time associated with an event in the lifecycle of the resource
1935
Date Created
Date of creation of the resource.
1935
Rights
Information about rights held in and over the resource
This material is protected by copyright law (Title 17, U.S. Code). For reproduction queries: <a href="http://research.history.org/JDRLibrary/Visual_Resources/VisualResourcePermission.cfm">Rights and reproductions</a>
Format
The file format, physical medium, or dimensions of the resource
jpeg
Type
The nature or genre of the resource
Image
Identifier
An unambiguous reference to the resource within a given context
LC360P6
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation
Chimneys
Dormer Windows
Dormers
Duke of Gloucester Street
Exteriors
F.S. Lincoln
Fences
Gambrel Roofs
Historic Buildings
Hitching Posts
Railings
Restaurants
Shutters
Signboards
Signs
Stairs
Virginia
Weatherboarding
Williamsburg
-
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830eb29e3858a76408fd031b180e9ff8
Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
Bit Depth
8
Channels
3
Height
768
Width
965
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
F.S. Lincoln Photography Collection
Description
An account of the resource
The FS Lincoln Collection
Biographical Sketch
Mr. Fay S. Lincoln (known professionally as F.S. Lincoln) operated a photography studio in New York City from the 1930s until the mid 1960s. He was born in Keene, New Hampshire in 1894 and attended the Massachusetts Institute of Technology. Although he received training as an engineer, Mr. Lincoln chose to become a professional photographer in 1929, when he opened the firm of Nyholm & Lincoln in conjunction with another photographer, Peter Nyholm, in New York City. A few years later, he opened his own studio at 114 East 32nd St.1
In 1932, Lincoln began corresponding with Kenneth Chorley, President of the Colonial Williamsburg Foundation, about the possibility of contracting with the Foundation to photograph the completed restoration work at Williamsburg. Lincoln had learned that John D. Rockefeller, Jr. was looking for someone to create a master collection of photos of Williamsburg through Arthur S. Vernay, an acquaintance of Abby Aldrich Rockefeller. In his correspondence, Lincoln noted he had completed photographic assignments for many of the top architects and designers in New York, including Arthur S. Vernay, Joseph Urban, James Gamble Rogers, Voorhees, Gmelin & Walker, McKim, Mead, & White, Robert Locher, and Eugene Schoen. He also pointed out that he had sold architectural photos to many prominent magazines, including "Architectural Record," "National Geographic," "Country Life," "Architectural Forum," and "Spur."2
Lincoln's credentials, along with sample photographs and recommendations from magazine editors, enabled him to secure a contract with Colonial Williamsburg on April 22, 1935. According to the terms of the contract, Lincoln was hired to prepare a master collection of photographs and negatives that Colonial Williamsburg could sell to tourists and residents of Williamsburg, as well as use for promotional purposes. Lincoln retained the right to sell copies of his photographs at his New York studio, provided he consulted with the Foundation regarding the proposed use of the photographs. He also retained title to all negatives and copyright for all photos until the termination of his business. Plans for a traveling exhibition of Lincoln's photographs of Williamsburg were also mentioned in the contract.3
During 1935, F.S. Lincoln traveled to Williamsburg at seasonal intervals to photograph views requested by the Foundation. A panel of Colonial Williamsburg employees reviewed each series of photos and selected a group to be added to the master collection. F.S. Lincoln photos illustrated two portfolios about Colonial Williamsburg published in the "Architectural Record" in December 1935 and November 1936. Full-page black and white photos of restored buildings and gardens accompanied articles on the restoration written by Kenneth Chorley, Fiske Kimball, William G. Perry, and Arthur Shurcliff. Thus, Lincoln's photos gave the American public their first introduction to the completed restoration.
Lincoln had also been hired by Colonial Williamsburg to create a group of photographs of Williamsburg that could be exhibited. Correspondence between staff members indicates that John D. Rockefeller, Jr. hoped to mount a traveling exhibit of Williamsburg photographs. An exhibit of a selection of Lincoln's views of Williamsburg, along with photos he took for "Harper's Bazaar," "House and Garden," "House Beautiful," "Vanity Fair," "National Geographic," and "Town and Country," was held at the Rabinovitch Gallery in New York City from October 4-17, 1935.
Although Foundation employees were satisfied with the quality of Lincoln's photographs, they were dismayed by the cost of individual prints and enlargements. Memos exchanged between members of the marketing staff indicate that employees were having a hard time convincing distributors to purchase enlargements of the Lincoln photos for display in shop windows. As a result, the Foundation's agreement with F.S. Lincoln was terminated on April 21, 1936.4
Despite this setback, F.S. Lincoln secured contracts for many other architectural photography projects in the 1930s. He received numerous commissions to photograph buildings in New York City and also traveled abroad on several assignments. In 1934, he completed a portfolio of photos of Mont St. Michel and in 1938 he toured the deep South and photographed examples of antebellum architecture. Lincoln's photos were widely published in the 1930s and 1940s in such magazines as "Architectural Record," "House Beautiful," "National Geographic," "Country Life," and "Architectural Forum." In addition, he published a book of his photographs in 1946 entitled "Charleston: Photographic Studies by F.S. Lincoln."5
F.S. Lincoln continued to operate a photography studio in New York City until 1965, when he retired and moved to Center Hall, Pennsylvania to live with his sister. He forwarded all of his negatives of Williamsburg buildings to the Foundation in 1972, along with a letter stating that “the copyright of the photographs has run out, so you are free to use them as desired.”6 Upon his death in 1976, the remainder of Lincoln's archive of prints and negatives, as well as some business papers, were donated to the Pennsylvania State University Archives.
Scope and Contents
The F.S. Lincoln collection consists of black and white negatives and prints taken by Mr. Lincoln in preparation for the publication of "The Restoration of Colonial Williamsburg in Virginia," a series of articles appearing in the December 1935 and November 1936 issues of "The Architectural Record." Both issues featured a portfolio of buildings and gardens in the newly restored historic area of Williamsburg.
In order to produce a large pool of photos for use in these portfolios, Mr. Lincoln created comprehensive visual documentation of the work completed during the initial phases of the restoration (1927-1935.) He photographed the exteriors and interiors of thirty restored buildings, including the exhibition buildings open to the public, such as the Governor's Palace, the Capitol, Raleigh Tavern, Bruton Parish Church, the Wren Building, and the Powder Magazine. In addition, he captured exterior views of some of the shops open on Merchant's Square and restored buildings adapted for public use, such as the Public Library. He also photographed many of the gardens and garden ornaments throughout the restored area.
The collection is organized into series by format. Series included in the collection are negatives; bound matted and signed prints; unbound matted and signed prints; and small albums. Within each format, items are organized according to the numbering system assigned by Mr. Lincoln. The first three digits of numbers assigned to the images correspond to a particular building or subject category. For example, all images of the Capitol have numbers beginning with 325 and all miscellaneous views have numbers beginning with 365. After these first three digits, Lincoln added a P for print and then a successive number for each view. For example, the first view of the Capitol is number 325P1. An “LC” prefix has been added to all image numbers by the Colonial Williamsburg Foundation to identify the images as coming from the Lincoln Collection.
Endnotes
1 Champagne, Anne, “Fay S. Lincoln Collection,” History of Photography 17, (Spring 1993): 127-128.
2 F.S. Lincoln to B.W. Norton, October 18, 1933. Colonial Williamsburg Foundation Archives.
3 Agreement dated April 22, 1935 between Colonial Williamsburg, Inc. and F.S. Lincoln, Colonial Williamsburg Foundation Archives.
4 Mr. Norton to Mr. Darling, February 22, 1937; Kenneth Chorley to F.S. Lincoln, April 6, 1937, Colonial Williamsburg Foundation Archives.
5 Champagne, Anne, “Fay S. Lincoln Collection,” History of Photography 17 (Spring 1993): 128.
6 F.S. Lincoln to James R. Short, May 15, 1972, Colonial Williamsburg Foundation Archives.
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
Gelatin or collodian printing out paper with platinum toning, mounted on board
Physical Dimensions
The actual physical size of the original image.
8x10 inches
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
A & P Store, Also Known As Teterel Shop
Subject
The topic of the resource
Stores, Retail - Virginia - Williamsburg
Teterel Shop (Williamsburg, Va.)
A&P Food Market (Williamsburg, Va.)
Block 18. Building 3A.
William Waters Storehouse (Williamsburg, Va.)
Historic buildings -- Virginia -- Williamsburg
Description
An account of the resource
When Colonial Williamsburg first opened as a museum in the 1930s, Duke of Gloucester Street consisted of a combination of exhibition buildings and commercial establishments. Several grocers operated small food markets in restored or reconstructed structures. The Teterel Shop, housing the A&P Food Market, offered a place for town residents and tourists to pick up refreshments. A deed records the construction of a shop on the site shortly before 1767. The succession of owners included William Waters, William Holt, and William Coleman. In 1806, Francis Teterel acquired the property and it is his name that was associated with the building when it was first restored. Today it is known as the William Waters Storehouse.
Creator
An entity primarily responsible for making the resource
Lincoln, F.S.
Date
A point or period of time associated with an event in the lifecycle of the resource
1935
Date Created
Date of creation of the resource.
1935
Rights
Information about rights held in and over the resource
This material is protected by copyright law (Title 17, U.S. Code). For reproduction queries: <a href="http://research.history.org/JDRLibrary/Visual_Resources/VisualResourcePermission.cfm">Rights and reproductions</a>
Format
The file format, physical medium, or dimensions of the resource
jpeg
Type
The nature or genre of the resource
Image
Identifier
An unambiguous reference to the resource within a given context
LC364P1
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation
A&P Food Market
Chimneys
Cornices
Dentils
Exteriors
F.S. Lincoln
Fences
Groceries
Historic Buildings
Hitching Posts
Railings
Retail Stores
Shutters
Signboards
Signs
Stairs
Teterel Shop
Virginia
Weatherboarding
William Waters Storehouse
Williamsburg
-
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77a7b048877c17c823a62369d665aa1f
Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
Bit Depth
8
Channels
3
Height
768
Width
969
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
F.S. Lincoln Photography Collection
Description
An account of the resource
The FS Lincoln Collection
Biographical Sketch
Mr. Fay S. Lincoln (known professionally as F.S. Lincoln) operated a photography studio in New York City from the 1930s until the mid 1960s. He was born in Keene, New Hampshire in 1894 and attended the Massachusetts Institute of Technology. Although he received training as an engineer, Mr. Lincoln chose to become a professional photographer in 1929, when he opened the firm of Nyholm & Lincoln in conjunction with another photographer, Peter Nyholm, in New York City. A few years later, he opened his own studio at 114 East 32nd St.1
In 1932, Lincoln began corresponding with Kenneth Chorley, President of the Colonial Williamsburg Foundation, about the possibility of contracting with the Foundation to photograph the completed restoration work at Williamsburg. Lincoln had learned that John D. Rockefeller, Jr. was looking for someone to create a master collection of photos of Williamsburg through Arthur S. Vernay, an acquaintance of Abby Aldrich Rockefeller. In his correspondence, Lincoln noted he had completed photographic assignments for many of the top architects and designers in New York, including Arthur S. Vernay, Joseph Urban, James Gamble Rogers, Voorhees, Gmelin & Walker, McKim, Mead, & White, Robert Locher, and Eugene Schoen. He also pointed out that he had sold architectural photos to many prominent magazines, including "Architectural Record," "National Geographic," "Country Life," "Architectural Forum," and "Spur."2
Lincoln's credentials, along with sample photographs and recommendations from magazine editors, enabled him to secure a contract with Colonial Williamsburg on April 22, 1935. According to the terms of the contract, Lincoln was hired to prepare a master collection of photographs and negatives that Colonial Williamsburg could sell to tourists and residents of Williamsburg, as well as use for promotional purposes. Lincoln retained the right to sell copies of his photographs at his New York studio, provided he consulted with the Foundation regarding the proposed use of the photographs. He also retained title to all negatives and copyright for all photos until the termination of his business. Plans for a traveling exhibition of Lincoln's photographs of Williamsburg were also mentioned in the contract.3
During 1935, F.S. Lincoln traveled to Williamsburg at seasonal intervals to photograph views requested by the Foundation. A panel of Colonial Williamsburg employees reviewed each series of photos and selected a group to be added to the master collection. F.S. Lincoln photos illustrated two portfolios about Colonial Williamsburg published in the "Architectural Record" in December 1935 and November 1936. Full-page black and white photos of restored buildings and gardens accompanied articles on the restoration written by Kenneth Chorley, Fiske Kimball, William G. Perry, and Arthur Shurcliff. Thus, Lincoln's photos gave the American public their first introduction to the completed restoration.
Lincoln had also been hired by Colonial Williamsburg to create a group of photographs of Williamsburg that could be exhibited. Correspondence between staff members indicates that John D. Rockefeller, Jr. hoped to mount a traveling exhibit of Williamsburg photographs. An exhibit of a selection of Lincoln's views of Williamsburg, along with photos he took for "Harper's Bazaar," "House and Garden," "House Beautiful," "Vanity Fair," "National Geographic," and "Town and Country," was held at the Rabinovitch Gallery in New York City from October 4-17, 1935.
Although Foundation employees were satisfied with the quality of Lincoln's photographs, they were dismayed by the cost of individual prints and enlargements. Memos exchanged between members of the marketing staff indicate that employees were having a hard time convincing distributors to purchase enlargements of the Lincoln photos for display in shop windows. As a result, the Foundation's agreement with F.S. Lincoln was terminated on April 21, 1936.4
Despite this setback, F.S. Lincoln secured contracts for many other architectural photography projects in the 1930s. He received numerous commissions to photograph buildings in New York City and also traveled abroad on several assignments. In 1934, he completed a portfolio of photos of Mont St. Michel and in 1938 he toured the deep South and photographed examples of antebellum architecture. Lincoln's photos were widely published in the 1930s and 1940s in such magazines as "Architectural Record," "House Beautiful," "National Geographic," "Country Life," and "Architectural Forum." In addition, he published a book of his photographs in 1946 entitled "Charleston: Photographic Studies by F.S. Lincoln."5
F.S. Lincoln continued to operate a photography studio in New York City until 1965, when he retired and moved to Center Hall, Pennsylvania to live with his sister. He forwarded all of his negatives of Williamsburg buildings to the Foundation in 1972, along with a letter stating that “the copyright of the photographs has run out, so you are free to use them as desired.”6 Upon his death in 1976, the remainder of Lincoln's archive of prints and negatives, as well as some business papers, were donated to the Pennsylvania State University Archives.
Scope and Contents
The F.S. Lincoln collection consists of black and white negatives and prints taken by Mr. Lincoln in preparation for the publication of "The Restoration of Colonial Williamsburg in Virginia," a series of articles appearing in the December 1935 and November 1936 issues of "The Architectural Record." Both issues featured a portfolio of buildings and gardens in the newly restored historic area of Williamsburg.
In order to produce a large pool of photos for use in these portfolios, Mr. Lincoln created comprehensive visual documentation of the work completed during the initial phases of the restoration (1927-1935.) He photographed the exteriors and interiors of thirty restored buildings, including the exhibition buildings open to the public, such as the Governor's Palace, the Capitol, Raleigh Tavern, Bruton Parish Church, the Wren Building, and the Powder Magazine. In addition, he captured exterior views of some of the shops open on Merchant's Square and restored buildings adapted for public use, such as the Public Library. He also photographed many of the gardens and garden ornaments throughout the restored area.
The collection is organized into series by format. Series included in the collection are negatives; bound matted and signed prints; unbound matted and signed prints; and small albums. Within each format, items are organized according to the numbering system assigned by Mr. Lincoln. The first three digits of numbers assigned to the images correspond to a particular building or subject category. For example, all images of the Capitol have numbers beginning with 325 and all miscellaneous views have numbers beginning with 365. After these first three digits, Lincoln added a P for print and then a successive number for each view. For example, the first view of the Capitol is number 325P1. An “LC” prefix has been added to all image numbers by the Colonial Williamsburg Foundation to identify the images as coming from the Lincoln Collection.
Endnotes
1 Champagne, Anne, “Fay S. Lincoln Collection,” History of Photography 17, (Spring 1993): 127-128.
2 F.S. Lincoln to B.W. Norton, October 18, 1933. Colonial Williamsburg Foundation Archives.
3 Agreement dated April 22, 1935 between Colonial Williamsburg, Inc. and F.S. Lincoln, Colonial Williamsburg Foundation Archives.
4 Mr. Norton to Mr. Darling, February 22, 1937; Kenneth Chorley to F.S. Lincoln, April 6, 1937, Colonial Williamsburg Foundation Archives.
5 Champagne, Anne, “Fay S. Lincoln Collection,” History of Photography 17 (Spring 1993): 128.
6 F.S. Lincoln to James R. Short, May 15, 1972, Colonial Williamsburg Foundation Archives.
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
Gelatin or collodian printing out paper with platinum toning, mounted on board
Physical Dimensions
The actual physical size of the original image.
8x10 inches
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Davidson Shop (R.W. Mahone and Company Store)
Subject
The topic of the resource
Davidson Shop (Williamsburg, Va.)
Stores, Retail - Virginia - Williamsburg
Block 18. Building 01D.
Historic buildings - Virginia - Williamsburg
Description
An account of the resource
View of front elevation of Davidson Shop when it housed R.W. Mahone & Co. General Merchandise, 1935. Located on the north side of Duke of Gloucester Street, the building was reconstructed according to archaeological, architectural, and documentary evidence. In the eighteenth century, it served as a combination residence and apothecary shop for Robert Davidson. Initial use of the restored building as a grocery and hardware store provided residents with a retail space while adding to the colonial ambiance for town residents and tourists.
When Colonial Williamsburg first opened as a museum in the 1930s, Duke of Gloucester Street consisted of a combination of exhibition buildings and commercial establishments. Several grocers operated small food markets in restored or reconstructed structures.
Creator
An entity primarily responsible for making the resource
Lincoln, F.S.
Date
A point or period of time associated with an event in the lifecycle of the resource
1935
Date Created
Date of creation of the resource.
1935
Rights
Information about rights held in and over the resource
This material is protected by copyright law (Title 17, U.S. Code). For reproduction queries: <a href="http://research.history.org/JDRLibrary/Visual_Resources/VisualResourcePermission.cfm">Rights and reproductions</a>
Format
The file format, physical medium, or dimensions of the resource
jpeg
Type
The nature or genre of the resource
Image
Identifier
An unambiguous reference to the resource within a given context
LC364P4
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation
Chimneys
Davidson Shop
Dormer Windows
Dormers
Duke of Gloucester Street
Exteriors
F.S. Lincoln
Fences
Groceries
Historic Buildings
Hitching Posts
R.W. Mahone and Company General Merchandise
Retail Stores
Shops
Signboards
Signs
Stairs
Stores
Transoms
Virginia
Weatherboarding
Williamsburg
-
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Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
Bit Depth
8
Channels
3
Height
747
Width
1024
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
F.S. Lincoln Photography Collection
Description
An account of the resource
The FS Lincoln Collection
Biographical Sketch
Mr. Fay S. Lincoln (known professionally as F.S. Lincoln) operated a photography studio in New York City from the 1930s until the mid 1960s. He was born in Keene, New Hampshire in 1894 and attended the Massachusetts Institute of Technology. Although he received training as an engineer, Mr. Lincoln chose to become a professional photographer in 1929, when he opened the firm of Nyholm & Lincoln in conjunction with another photographer, Peter Nyholm, in New York City. A few years later, he opened his own studio at 114 East 32nd St.1
In 1932, Lincoln began corresponding with Kenneth Chorley, President of the Colonial Williamsburg Foundation, about the possibility of contracting with the Foundation to photograph the completed restoration work at Williamsburg. Lincoln had learned that John D. Rockefeller, Jr. was looking for someone to create a master collection of photos of Williamsburg through Arthur S. Vernay, an acquaintance of Abby Aldrich Rockefeller. In his correspondence, Lincoln noted he had completed photographic assignments for many of the top architects and designers in New York, including Arthur S. Vernay, Joseph Urban, James Gamble Rogers, Voorhees, Gmelin & Walker, McKim, Mead, & White, Robert Locher, and Eugene Schoen. He also pointed out that he had sold architectural photos to many prominent magazines, including "Architectural Record," "National Geographic," "Country Life," "Architectural Forum," and "Spur."2
Lincoln's credentials, along with sample photographs and recommendations from magazine editors, enabled him to secure a contract with Colonial Williamsburg on April 22, 1935. According to the terms of the contract, Lincoln was hired to prepare a master collection of photographs and negatives that Colonial Williamsburg could sell to tourists and residents of Williamsburg, as well as use for promotional purposes. Lincoln retained the right to sell copies of his photographs at his New York studio, provided he consulted with the Foundation regarding the proposed use of the photographs. He also retained title to all negatives and copyright for all photos until the termination of his business. Plans for a traveling exhibition of Lincoln's photographs of Williamsburg were also mentioned in the contract.3
During 1935, F.S. Lincoln traveled to Williamsburg at seasonal intervals to photograph views requested by the Foundation. A panel of Colonial Williamsburg employees reviewed each series of photos and selected a group to be added to the master collection. F.S. Lincoln photos illustrated two portfolios about Colonial Williamsburg published in the "Architectural Record" in December 1935 and November 1936. Full-page black and white photos of restored buildings and gardens accompanied articles on the restoration written by Kenneth Chorley, Fiske Kimball, William G. Perry, and Arthur Shurcliff. Thus, Lincoln's photos gave the American public their first introduction to the completed restoration.
Lincoln had also been hired by Colonial Williamsburg to create a group of photographs of Williamsburg that could be exhibited. Correspondence between staff members indicates that John D. Rockefeller, Jr. hoped to mount a traveling exhibit of Williamsburg photographs. An exhibit of a selection of Lincoln's views of Williamsburg, along with photos he took for "Harper's Bazaar," "House and Garden," "House Beautiful," "Vanity Fair," "National Geographic," and "Town and Country," was held at the Rabinovitch Gallery in New York City from October 4-17, 1935.
Although Foundation employees were satisfied with the quality of Lincoln's photographs, they were dismayed by the cost of individual prints and enlargements. Memos exchanged between members of the marketing staff indicate that employees were having a hard time convincing distributors to purchase enlargements of the Lincoln photos for display in shop windows. As a result, the Foundation's agreement with F.S. Lincoln was terminated on April 21, 1936.4
Despite this setback, F.S. Lincoln secured contracts for many other architectural photography projects in the 1930s. He received numerous commissions to photograph buildings in New York City and also traveled abroad on several assignments. In 1934, he completed a portfolio of photos of Mont St. Michel and in 1938 he toured the deep South and photographed examples of antebellum architecture. Lincoln's photos were widely published in the 1930s and 1940s in such magazines as "Architectural Record," "House Beautiful," "National Geographic," "Country Life," and "Architectural Forum." In addition, he published a book of his photographs in 1946 entitled "Charleston: Photographic Studies by F.S. Lincoln."5
F.S. Lincoln continued to operate a photography studio in New York City until 1965, when he retired and moved to Center Hall, Pennsylvania to live with his sister. He forwarded all of his negatives of Williamsburg buildings to the Foundation in 1972, along with a letter stating that “the copyright of the photographs has run out, so you are free to use them as desired.”6 Upon his death in 1976, the remainder of Lincoln's archive of prints and negatives, as well as some business papers, were donated to the Pennsylvania State University Archives.
Scope and Contents
The F.S. Lincoln collection consists of black and white negatives and prints taken by Mr. Lincoln in preparation for the publication of "The Restoration of Colonial Williamsburg in Virginia," a series of articles appearing in the December 1935 and November 1936 issues of "The Architectural Record." Both issues featured a portfolio of buildings and gardens in the newly restored historic area of Williamsburg.
In order to produce a large pool of photos for use in these portfolios, Mr. Lincoln created comprehensive visual documentation of the work completed during the initial phases of the restoration (1927-1935.) He photographed the exteriors and interiors of thirty restored buildings, including the exhibition buildings open to the public, such as the Governor's Palace, the Capitol, Raleigh Tavern, Bruton Parish Church, the Wren Building, and the Powder Magazine. In addition, he captured exterior views of some of the shops open on Merchant's Square and restored buildings adapted for public use, such as the Public Library. He also photographed many of the gardens and garden ornaments throughout the restored area.
The collection is organized into series by format. Series included in the collection are negatives; bound matted and signed prints; unbound matted and signed prints; and small albums. Within each format, items are organized according to the numbering system assigned by Mr. Lincoln. The first three digits of numbers assigned to the images correspond to a particular building or subject category. For example, all images of the Capitol have numbers beginning with 325 and all miscellaneous views have numbers beginning with 365. After these first three digits, Lincoln added a P for print and then a successive number for each view. For example, the first view of the Capitol is number 325P1. An “LC” prefix has been added to all image numbers by the Colonial Williamsburg Foundation to identify the images as coming from the Lincoln Collection.
Endnotes
1 Champagne, Anne, “Fay S. Lincoln Collection,” History of Photography 17, (Spring 1993): 127-128.
2 F.S. Lincoln to B.W. Norton, October 18, 1933. Colonial Williamsburg Foundation Archives.
3 Agreement dated April 22, 1935 between Colonial Williamsburg, Inc. and F.S. Lincoln, Colonial Williamsburg Foundation Archives.
4 Mr. Norton to Mr. Darling, February 22, 1937; Kenneth Chorley to F.S. Lincoln, April 6, 1937, Colonial Williamsburg Foundation Archives.
5 Champagne, Anne, “Fay S. Lincoln Collection,” History of Photography 17 (Spring 1993): 128.
6 F.S. Lincoln to James R. Short, May 15, 1972, Colonial Williamsburg Foundation Archives.
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
Gelatin or collodian printing out paper with platinum toning, mounted on board
Physical Dimensions
The actual physical size of the original image.
8x10 inches
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Margaret Hunter Shop (Pender's Grocery)
Subject
The topic of the resource
Block 17. Building 09.
Margaret Hunter Shop (Williamsburg, Va.)
Historic buildings -- Virginia -- Williamsburg
Description
An account of the resource
<p>Exterior of the Margaret Hunter Shop, once known as Pender's Grocery, as viewed from Duke of Gloucester Street, 1935. When Colonial Williamsburg first opened as a museum in the 1930s, Duke of Gloucester Street consisted of a combination of exhibition buildings and commercial establishments, and several grocers operated small food markets in restored or reconstructed structures. Pender's Grocery offered a place for town residents and tourists to pick up refreshments.</p>
<p>This building, "...an original structure, occupies a favorable spot on the busy 'downtown' end of the main street. Typical of commercial buildings, it has a gable-end facade, and its interior is divided between a large unheated storefront and a smaller counting office with a fireplace in the rear. Like many buildings, this one served as both workplace and home for its occupants." The first occupant (and later owner) of the building was Margaret Hunter, a milliner, who both "...imported and...made diverse and stylish accessories for men, women and children."</p>
<p>(Source: Michael Olmert and Suzanne Coffman, <em>Official Guide to Colonial Williamsburg</em> [Williamsburg, VA: The Colonial Williamsburg Foundation, 2007], 57).</p>
Creator
An entity primarily responsible for making the resource
Lincoln, F.S.
Date
A point or period of time associated with an event in the lifecycle of the resource
1935
Date Created
Date of creation of the resource.
1935
Rights
Information about rights held in and over the resource
This material is protected by copyright law (Title 17, U.S. Code). For reproduction queries: <a href="http://research.history.org/JDRLibrary/Visual_Resources/VisualResourcePermission.cfm">Rights and reproductions</a>
Format
The file format, physical medium, or dimensions of the resource
jpeg
Type
The nature or genre of the resource
Image
Identifier
An unambiguous reference to the resource within a given context
LC364P5
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation
Benches
Brickwork
Chimneys
Dormer Windows
Dormers
Duke of Gloucester Street
Exteriors
F.S. Lincoln
Fences
Historic Buildings
Lampposts
Margaret Hunter Shop
Pender's Grocery
Porches
Signboards
Signs
Virginia
Weatherboarding
Williamsburg
-
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28132c9356b0cb3ac2046f6d73183231
Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
Bit Depth
8
Channels
1
Height
768
Width
611
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
F.S. Lincoln Photography Collection
Description
An account of the resource
The FS Lincoln Collection
Biographical Sketch
Mr. Fay S. Lincoln (known professionally as F.S. Lincoln) operated a photography studio in New York City from the 1930s until the mid 1960s. He was born in Keene, New Hampshire in 1894 and attended the Massachusetts Institute of Technology. Although he received training as an engineer, Mr. Lincoln chose to become a professional photographer in 1929, when he opened the firm of Nyholm & Lincoln in conjunction with another photographer, Peter Nyholm, in New York City. A few years later, he opened his own studio at 114 East 32nd St.1
In 1932, Lincoln began corresponding with Kenneth Chorley, President of the Colonial Williamsburg Foundation, about the possibility of contracting with the Foundation to photograph the completed restoration work at Williamsburg. Lincoln had learned that John D. Rockefeller, Jr. was looking for someone to create a master collection of photos of Williamsburg through Arthur S. Vernay, an acquaintance of Abby Aldrich Rockefeller. In his correspondence, Lincoln noted he had completed photographic assignments for many of the top architects and designers in New York, including Arthur S. Vernay, Joseph Urban, James Gamble Rogers, Voorhees, Gmelin & Walker, McKim, Mead, & White, Robert Locher, and Eugene Schoen. He also pointed out that he had sold architectural photos to many prominent magazines, including "Architectural Record," "National Geographic," "Country Life," "Architectural Forum," and "Spur."2
Lincoln's credentials, along with sample photographs and recommendations from magazine editors, enabled him to secure a contract with Colonial Williamsburg on April 22, 1935. According to the terms of the contract, Lincoln was hired to prepare a master collection of photographs and negatives that Colonial Williamsburg could sell to tourists and residents of Williamsburg, as well as use for promotional purposes. Lincoln retained the right to sell copies of his photographs at his New York studio, provided he consulted with the Foundation regarding the proposed use of the photographs. He also retained title to all negatives and copyright for all photos until the termination of his business. Plans for a traveling exhibition of Lincoln's photographs of Williamsburg were also mentioned in the contract.3
During 1935, F.S. Lincoln traveled to Williamsburg at seasonal intervals to photograph views requested by the Foundation. A panel of Colonial Williamsburg employees reviewed each series of photos and selected a group to be added to the master collection. F.S. Lincoln photos illustrated two portfolios about Colonial Williamsburg published in the "Architectural Record" in December 1935 and November 1936. Full-page black and white photos of restored buildings and gardens accompanied articles on the restoration written by Kenneth Chorley, Fiske Kimball, William G. Perry, and Arthur Shurcliff. Thus, Lincoln's photos gave the American public their first introduction to the completed restoration.
Lincoln had also been hired by Colonial Williamsburg to create a group of photographs of Williamsburg that could be exhibited. Correspondence between staff members indicates that John D. Rockefeller, Jr. hoped to mount a traveling exhibit of Williamsburg photographs. An exhibit of a selection of Lincoln's views of Williamsburg, along with photos he took for "Harper's Bazaar," "House and Garden," "House Beautiful," "Vanity Fair," "National Geographic," and "Town and Country," was held at the Rabinovitch Gallery in New York City from October 4-17, 1935.
Although Foundation employees were satisfied with the quality of Lincoln's photographs, they were dismayed by the cost of individual prints and enlargements. Memos exchanged between members of the marketing staff indicate that employees were having a hard time convincing distributors to purchase enlargements of the Lincoln photos for display in shop windows. As a result, the Foundation's agreement with F.S. Lincoln was terminated on April 21, 1936.4
Despite this setback, F.S. Lincoln secured contracts for many other architectural photography projects in the 1930s. He received numerous commissions to photograph buildings in New York City and also traveled abroad on several assignments. In 1934, he completed a portfolio of photos of Mont St. Michel and in 1938 he toured the deep South and photographed examples of antebellum architecture. Lincoln's photos were widely published in the 1930s and 1940s in such magazines as "Architectural Record," "House Beautiful," "National Geographic," "Country Life," and "Architectural Forum." In addition, he published a book of his photographs in 1946 entitled "Charleston: Photographic Studies by F.S. Lincoln."5
F.S. Lincoln continued to operate a photography studio in New York City until 1965, when he retired and moved to Center Hall, Pennsylvania to live with his sister. He forwarded all of his negatives of Williamsburg buildings to the Foundation in 1972, along with a letter stating that “the copyright of the photographs has run out, so you are free to use them as desired.”6 Upon his death in 1976, the remainder of Lincoln's archive of prints and negatives, as well as some business papers, were donated to the Pennsylvania State University Archives.
Scope and Contents
The F.S. Lincoln collection consists of black and white negatives and prints taken by Mr. Lincoln in preparation for the publication of "The Restoration of Colonial Williamsburg in Virginia," a series of articles appearing in the December 1935 and November 1936 issues of "The Architectural Record." Both issues featured a portfolio of buildings and gardens in the newly restored historic area of Williamsburg.
In order to produce a large pool of photos for use in these portfolios, Mr. Lincoln created comprehensive visual documentation of the work completed during the initial phases of the restoration (1927-1935.) He photographed the exteriors and interiors of thirty restored buildings, including the exhibition buildings open to the public, such as the Governor's Palace, the Capitol, Raleigh Tavern, Bruton Parish Church, the Wren Building, and the Powder Magazine. In addition, he captured exterior views of some of the shops open on Merchant's Square and restored buildings adapted for public use, such as the Public Library. He also photographed many of the gardens and garden ornaments throughout the restored area.
The collection is organized into series by format. Series included in the collection are negatives; bound matted and signed prints; unbound matted and signed prints; and small albums. Within each format, items are organized according to the numbering system assigned by Mr. Lincoln. The first three digits of numbers assigned to the images correspond to a particular building or subject category. For example, all images of the Capitol have numbers beginning with 325 and all miscellaneous views have numbers beginning with 365. After these first three digits, Lincoln added a P for print and then a successive number for each view. For example, the first view of the Capitol is number 325P1. An “LC” prefix has been added to all image numbers by the Colonial Williamsburg Foundation to identify the images as coming from the Lincoln Collection.
Endnotes
1 Champagne, Anne, “Fay S. Lincoln Collection,” History of Photography 17, (Spring 1993): 127-128.
2 F.S. Lincoln to B.W. Norton, October 18, 1933. Colonial Williamsburg Foundation Archives.
3 Agreement dated April 22, 1935 between Colonial Williamsburg, Inc. and F.S. Lincoln, Colonial Williamsburg Foundation Archives.
4 Mr. Norton to Mr. Darling, February 22, 1937; Kenneth Chorley to F.S. Lincoln, April 6, 1937, Colonial Williamsburg Foundation Archives.
5 Champagne, Anne, “Fay S. Lincoln Collection,” History of Photography 17 (Spring 1993): 128.
6 F.S. Lincoln to James R. Short, May 15, 1972, Colonial Williamsburg Foundation Archives.
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
Gelatin or collodian printing out paper with platinum toning, mounted on board
Physical Dimensions
The actual physical size of the original image.
8x10 inches
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Margaret Hunter Shop (Pender's Grocery)
Subject
The topic of the resource
Block 17. Building 09.
Margaret Hunter Shop (Williamsburg, Va.)
Merchants Square (Williamsburg, Va.)
Historic buildings -- Virginia -- Williamsburg
Description
An account of the resource
<p>Exterior of the Margaret Hunter Shop, once known as Pender's Grocery, looking east down Duke of Gloucester Street, 1935. When Colonial Williamsburg first opened as a museum in the 1930s, Duke of Gloucester Street consisted of a combination of exhibition buildings and commercial establishments, and several grocers operated small food markets in restored or reconstructed structures. Pender's Grocery offered a place for town residents and tourists to pick up refreshments.</p>
<p>This building, "...an original structure, occupies a favorable spot on the busy 'downtown' end of the main street. Typical of commercial buildings, it has a gable-end facade, and its interior is divided between a large unheated storefront and a smaller counting office with a fireplace in the rear. Like many buildings, this one served as both workplace and home for its occupants." The first occupant (and later owner) of the building was Margaret Hunter, a milliner, who both "...imported and...made diverse and stylish accessories for men, women and children."</p>
<p>(Source: Michael Olmert and Suzanne Coffman, <em>Official Guide to Colonial Williamsburg</em> [Williamsburg, VA: The Colonial Williamsburg Foundation, 2007], 57).</p>
Creator
An entity primarily responsible for making the resource
Lincoln, F.S.
Date
A point or period of time associated with an event in the lifecycle of the resource
1935
Date Created
Date of creation of the resource.
1935
Rights
Information about rights held in and over the resource
This material is protected by copyright law (Title 17, U.S. Code). For reproduction queries: <a href="http://research.history.org/JDRLibrary/Visual_Resources/VisualResourcePermission.cfm">Rights and reproductions</a>
Format
The file format, physical medium, or dimensions of the resource
jpeg
Type
The nature or genre of the resource
Image
Identifier
An unambiguous reference to the resource within a given context
LC364P6
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation
Benches
Brickwork
Chimneys
Dormer Windows
Dormers
Duke of Gloucester Street
Exteriors
F.S. Lincoln
Fences
Historic Buildings
Lampposts
Margaret Hunter Shop
Pender's Grocery
Porches
Signboards
Signs
Virginia
Weatherboarding
Williamsburg
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Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
Bit Depth
8
Channels
3
Height
768
Width
969
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
F.S. Lincoln Photography Collection
Description
An account of the resource
The FS Lincoln Collection
Biographical Sketch
Mr. Fay S. Lincoln (known professionally as F.S. Lincoln) operated a photography studio in New York City from the 1930s until the mid 1960s. He was born in Keene, New Hampshire in 1894 and attended the Massachusetts Institute of Technology. Although he received training as an engineer, Mr. Lincoln chose to become a professional photographer in 1929, when he opened the firm of Nyholm & Lincoln in conjunction with another photographer, Peter Nyholm, in New York City. A few years later, he opened his own studio at 114 East 32nd St.1
In 1932, Lincoln began corresponding with Kenneth Chorley, President of the Colonial Williamsburg Foundation, about the possibility of contracting with the Foundation to photograph the completed restoration work at Williamsburg. Lincoln had learned that John D. Rockefeller, Jr. was looking for someone to create a master collection of photos of Williamsburg through Arthur S. Vernay, an acquaintance of Abby Aldrich Rockefeller. In his correspondence, Lincoln noted he had completed photographic assignments for many of the top architects and designers in New York, including Arthur S. Vernay, Joseph Urban, James Gamble Rogers, Voorhees, Gmelin & Walker, McKim, Mead, & White, Robert Locher, and Eugene Schoen. He also pointed out that he had sold architectural photos to many prominent magazines, including "Architectural Record," "National Geographic," "Country Life," "Architectural Forum," and "Spur."2
Lincoln's credentials, along with sample photographs and recommendations from magazine editors, enabled him to secure a contract with Colonial Williamsburg on April 22, 1935. According to the terms of the contract, Lincoln was hired to prepare a master collection of photographs and negatives that Colonial Williamsburg could sell to tourists and residents of Williamsburg, as well as use for promotional purposes. Lincoln retained the right to sell copies of his photographs at his New York studio, provided he consulted with the Foundation regarding the proposed use of the photographs. He also retained title to all negatives and copyright for all photos until the termination of his business. Plans for a traveling exhibition of Lincoln's photographs of Williamsburg were also mentioned in the contract.3
During 1935, F.S. Lincoln traveled to Williamsburg at seasonal intervals to photograph views requested by the Foundation. A panel of Colonial Williamsburg employees reviewed each series of photos and selected a group to be added to the master collection. F.S. Lincoln photos illustrated two portfolios about Colonial Williamsburg published in the "Architectural Record" in December 1935 and November 1936. Full-page black and white photos of restored buildings and gardens accompanied articles on the restoration written by Kenneth Chorley, Fiske Kimball, William G. Perry, and Arthur Shurcliff. Thus, Lincoln's photos gave the American public their first introduction to the completed restoration.
Lincoln had also been hired by Colonial Williamsburg to create a group of photographs of Williamsburg that could be exhibited. Correspondence between staff members indicates that John D. Rockefeller, Jr. hoped to mount a traveling exhibit of Williamsburg photographs. An exhibit of a selection of Lincoln's views of Williamsburg, along with photos he took for "Harper's Bazaar," "House and Garden," "House Beautiful," "Vanity Fair," "National Geographic," and "Town and Country," was held at the Rabinovitch Gallery in New York City from October 4-17, 1935.
Although Foundation employees were satisfied with the quality of Lincoln's photographs, they were dismayed by the cost of individual prints and enlargements. Memos exchanged between members of the marketing staff indicate that employees were having a hard time convincing distributors to purchase enlargements of the Lincoln photos for display in shop windows. As a result, the Foundation's agreement with F.S. Lincoln was terminated on April 21, 1936.4
Despite this setback, F.S. Lincoln secured contracts for many other architectural photography projects in the 1930s. He received numerous commissions to photograph buildings in New York City and also traveled abroad on several assignments. In 1934, he completed a portfolio of photos of Mont St. Michel and in 1938 he toured the deep South and photographed examples of antebellum architecture. Lincoln's photos were widely published in the 1930s and 1940s in such magazines as "Architectural Record," "House Beautiful," "National Geographic," "Country Life," and "Architectural Forum." In addition, he published a book of his photographs in 1946 entitled "Charleston: Photographic Studies by F.S. Lincoln."5
F.S. Lincoln continued to operate a photography studio in New York City until 1965, when he retired and moved to Center Hall, Pennsylvania to live with his sister. He forwarded all of his negatives of Williamsburg buildings to the Foundation in 1972, along with a letter stating that “the copyright of the photographs has run out, so you are free to use them as desired.”6 Upon his death in 1976, the remainder of Lincoln's archive of prints and negatives, as well as some business papers, were donated to the Pennsylvania State University Archives.
Scope and Contents
The F.S. Lincoln collection consists of black and white negatives and prints taken by Mr. Lincoln in preparation for the publication of "The Restoration of Colonial Williamsburg in Virginia," a series of articles appearing in the December 1935 and November 1936 issues of "The Architectural Record." Both issues featured a portfolio of buildings and gardens in the newly restored historic area of Williamsburg.
In order to produce a large pool of photos for use in these portfolios, Mr. Lincoln created comprehensive visual documentation of the work completed during the initial phases of the restoration (1927-1935.) He photographed the exteriors and interiors of thirty restored buildings, including the exhibition buildings open to the public, such as the Governor's Palace, the Capitol, Raleigh Tavern, Bruton Parish Church, the Wren Building, and the Powder Magazine. In addition, he captured exterior views of some of the shops open on Merchant's Square and restored buildings adapted for public use, such as the Public Library. He also photographed many of the gardens and garden ornaments throughout the restored area.
The collection is organized into series by format. Series included in the collection are negatives; bound matted and signed prints; unbound matted and signed prints; and small albums. Within each format, items are organized according to the numbering system assigned by Mr. Lincoln. The first three digits of numbers assigned to the images correspond to a particular building or subject category. For example, all images of the Capitol have numbers beginning with 325 and all miscellaneous views have numbers beginning with 365. After these first three digits, Lincoln added a P for print and then a successive number for each view. For example, the first view of the Capitol is number 325P1. An “LC” prefix has been added to all image numbers by the Colonial Williamsburg Foundation to identify the images as coming from the Lincoln Collection.
Endnotes
1 Champagne, Anne, “Fay S. Lincoln Collection,” History of Photography 17, (Spring 1993): 127-128.
2 F.S. Lincoln to B.W. Norton, October 18, 1933. Colonial Williamsburg Foundation Archives.
3 Agreement dated April 22, 1935 between Colonial Williamsburg, Inc. and F.S. Lincoln, Colonial Williamsburg Foundation Archives.
4 Mr. Norton to Mr. Darling, February 22, 1937; Kenneth Chorley to F.S. Lincoln, April 6, 1937, Colonial Williamsburg Foundation Archives.
5 Champagne, Anne, “Fay S. Lincoln Collection,” History of Photography 17 (Spring 1993): 128.
6 F.S. Lincoln to James R. Short, May 15, 1972, Colonial Williamsburg Foundation Archives.
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
Gelatin or collodian printing out paper with platinum toning, mounted on board
Physical Dimensions
The actual physical size of the original image.
8x10 inches
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Ayscough Shop and William Finnie House
Subject
The topic of the resource
Block 08. Building 05.
Ayscough Shop (Williamsburg, Va.)
William Finnie House (Williamsburg, Va.)
Historic buildings -- Virginia -- Williamsburg
Description
An account of the resource
View of Ayscough Shop and William Finnie House, looking south across Francis Street, 1935. The structure to the left is the Ayscough Shop, which housed the Forge and Wheel (a retail establishment) in 1935. The shop sold decorative ironwork, pottery, and other items. Christopher Ayscough, the namesake of the shop, tried operating a tavern on the site between 1768-1770. The structure survived from the eighteenth century, although it was hardly recognizable due to the enlargements and modifications made in the nineteenth century. Once restored to its eighteenth-century appearance, the building exhibited such features typical of a commercial establishment as a gable end entrance and large shop window.
The structure to the right (across Francis Street) is the William Finnie House, one of the eighty-eight original buildings at Colonial Williamsburg. A gowned female costumed interpreter (once referred to as a "hostess") is shown standing in front of the house. The Finnie House is named after William Finnie, who resided in the home from the 1770s to early 1780s and held the office of quartermaster general of the Southern Department during the American Revolution. The Finnie House holds the distinction of retaining an appearance most closely matching its eighteenth-century form throughout the nineteenth and early twentieth centuries.
Creator
An entity primarily responsible for making the resource
Lincoln, F.S.
Date
A point or period of time associated with an event in the lifecycle of the resource
1935
Date Created
Date of creation of the resource.
1935
Rights
Information about rights held in and over the resource
This material is protected by copyright law (Title 17, U.S. Code). For reproduction queries: <a href="http://research.history.org/JDRLibrary/Visual_Resources/VisualResourcePermission.cfm">Rights and reproductions</a>
Format
The file format, physical medium, or dimensions of the resource
jpeg
Type
The nature or genre of the resource
Image
Identifier
An unambiguous reference to the resource within a given context
LC365P1
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation
Ayscough Shop
Basements
Cellars
Costumed Interpreters
Dentils
Exteriors
F.S. Lincoln
Fences
Francis Street
Historic Buildings
Hostesses
Porches
Porticoes
Railings
Shutters
Signboards
Signs
Stairs
Virginia
Weatherboarding
William Finnie House
Williamsburg