1 20 9 https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/d919700e694cbf43430a64675c568f42.jpg?Expires=1782345600&Signature=ejJ02ibJBmKDUxI2iGCgnW3qkq-ZmcxYLdCycyJ0kxvfVXWB123ht8LhsdTekYS1dqVJe5Omcbikp-uAslS8i49Y4pxuLmjdFWa1UAyuSBpcIZScZWdEr%7ESj1KBTdqT5vaoJWKT%7EhH88RuJJPKMv0%7EQ9PIYtFwzMKdTakvnNxoFSPhr35EEEU9grquFXo6z0oZJTEhil9fdxlyTpQL%7EDoVmvXZkv3-Xt0LDr-HxKIBCdCTIbWO-hv569kL2D8wQJ8vKDfBI1W8pnADrd2v28dS2s3WL3l7twsgXJ-YYGmE9YsdD6SP8na-B7DzANxjWuUNW913B9b3SqjmCIhF8CAw__&Key-Pair-Id=K6UGZS9ZTDSZM e127e2b24a686b2d8f0b48bd5e8d3856 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 Ernest M. Frank Photograph Collection Subject The topic of the resource Frank, Ernest M., 1914-1968 Photograph albums Williamsburg (Va.) - Photographs Architecture, Domestic - Virginia - Williamsburg Public buildings - Virginia - Williamsburg Historic buildings - Virginia - Williamsburg Williamsburg (Va.) - Buildings, structures, etc. Description An account of the resource Ernest Maurice Frank, a graduate of Cornell University, rose from the ranks of Draftsman to Assistant Vice-President over the course of a three-decade career at Colonial Williamsburg. During the late 1930s, a team of architects drafted plans to fill in the gaps with reconstruction or restoration of structures not included in the initial group completed in the early 1930s. Known as “Phase II” in Colonial Williamsburg’s evolution, the period launched an expansion of plans for future projects at sites such as the George Wythe and Peyton Randolph Houses, many of which became reality after the end of World War II. Singleton P. Moorehead, an architect who joined the Restoration team in 1928 and became part of the architectural office in 1934, and A.E. Kendrew, Foundation Architect, proved to be pivotal in moving Colonial Williamsburg forward with the Phase II transition. They hired Ernest Frank in 1939 to join their team of draftsmen beginning work on Phase II planning. Unfortunately, World War II intervened, and Frank and many other employees left the organization to fulfill their military duties in 1942. Frank re-joined Colonial Williamsburg in 1946 and established his own architectural practice in Williamsburg on the side in 1947. He rapidly advanced to Senior Draftsmen in 1947, Designer in 1948, and assumed the position of Assistant Director of the Architecture, Construction, and Maintenance Division from 1949-1956. In 1957, he became Director of the division until 1964, when he received a promotion to Assistant Vice-President for Colonial Williamsburg Inc. under Charles Hackett. One of Frank’s major projects involved overseeing the reconstruction of additional eighteenth-century features of the Robert Carter House complex. He and his team researched and designed the two long covered ways connecting outbuildings to the main house, as well as Dr. McKenzie’s Shop and several outbuildings. His architectural drawings for the Powder Magazine and Guardhouse, Bryan House, Ewing House, John Crump House, and the new Visitor’s Center complex and Motor House all attest to his extensive contributions. A member of the American Institute of Architects, Frank regularly spoke at architectural forums and design schools and became a recognized authority on colonial Virginian architecture. In his final years at Colonial Williamsburg, Frank served as a deputy to Charles Hackett, who led Colonial Williamsburg Inc. and Williamsburg Restoration Inc., until his death in 1968. A record of Frank’s meticulous research conducted as part of the process of developing designs for reconstructions can be found in the Ernest M. Frank Photograph Collection, AV2009.58, housed at the Rockefeller Library. Frank joined other members of the architectural team in the late 1940s and early 1950s in a series of trips throughout the mid-Atlantic region and to Great Britain to visit sites and record details that might be used as precedents for features of buildings planned for reconstruction. The team had to engage in a certain amount of educated guesswork for certain features of structures for which they could not find archaeological, historical, or visual evidence. A series of ten photo albums encompasses images from the late 1940s to early 1950s of sites at Colonial Williamsburg, various counties in Virginia, Maryland, North Carolina, and South Carolina, and Great Britain. The two albums focusing upon his 1951 trip to England are organized by various types of details under study, such as lamp brackets, signs, shop windows, foot scrapers, chimneys, gates, and fences. Together, the photo albums offer insight into the process used to gather clues for drafting designs for some of the buildings that constitute the second phase of Colonial Williamsburg’s development after World War II. Creator An entity primarily responsible for making the resource Frank, Ernest Maurice Is Part Of A related resource in which the described resource is physically or logically included. Ernest M. Frank Photograph Collection, AV2009.58 Rights Holder A person or organization owning or managing rights over the resource. Special Collections, John D. Rockefeller Jr. Library, The Colonial Williamsburg Foundation. Extent The size or duration of the resource. Ten albums 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 silver print on paper 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 Architrave, Christ Church Description An account of the resource Detail view of architrave at exterior corner of Christ Church, Lancaster County, Virginia. Identifier An unambiguous reference to the resource within a given context AV2009-58-A07-FRA021_002 Creator An entity primarily responsible for making the resource Frank, Ernest M. Date A point or period of time associated with an event in the lifecycle of the resource 1953 Is Part Of A related resource in which the described resource is physically or logically included. Ernest Maurice Frank Photograph Collection, AV2009.58, Album 7, Page 21 (shows as Page 20) Format The file format, physical medium, or dimensions of the resource jpeg Extent The size or duration of the resource. 1 photograph 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 Subject The topic of the resource Christ Church (Lancaster County, Va.) Religious architectural elements - Virginia - Lancaster County Church architecture - Virginia - Lancaster County Architraves Brickwork Christ Church Cornices Ernest Frank Lancaster County Virginia https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/b240136f633e4261ec35aab79803cc92.jpg?Expires=1782345600&Signature=Rn6TBYAsDBkNm7eKORP9NUHpZiwPXkndcN6UiT6SKbf4KgVd8RpAZf99fbH6l9MENg3wAexJ5jnbn7v1n%7EkFQrm-k8KUXCTuljkbBEY9SPeS4493-dBxJOItvxtIQYAqe4kq6Lt6iXNrn83dVV7mm5Vv9n5jTWhDCJETe67WVA8qhcOXUGk5MZYsm%7E2-xpvRSE%7EPm-B1KtM13BG6X3m47b90o0hXMcPkK2qe1bJEp09fkbrW2BJQmy-Hlu6%7Ect%7EixPMR9LwHnCA2Q9up%7E8XroujWD%7EdC7qBe%7EA8r6uH69fb8EV30yWIb7ubjq2qOWiP3eoIOphEQrmDdbpAi-HOWyA__&Key-Pair-Id=K6UGZS9ZTDSZM b8255215611e972263b42c7166f56f85 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 John A. Barrows Photograph Collection Subject The topic of the resource Barrows, John A. Photography - Virginia Historic buildings - Virginia - Williamsburg Description An account of the resource BIOGRAPHICAL SKETCH John A. Barrows joined the staff of the Williamsburg office of Boston architects Perry, Shaw & Hepburn as a draftsman in the early days of the restoration. Remaining with them until his untimely death, Barrows assisted in the restoration of the College of William and Mary's Wren Building, and was involved with design work for the reconstructed Raleigh Tavern, Capitol, and Governor's Palace. In addition to his research and restoration work, John A. Barrows co-authored "The Domestic Colonial Architecture of Tidewater Virginia" with colleague Thomas Waterman. As part of his field research, Barrows--at the wheel of his 1928 Buick roadster "Lucy"--photographed numerous buildings and plantations throughout the Tidewater region, including sites in the now restored historic area of Williamsburg, Bacon's Castle, Cleve, Carter's Grove, King William Courthouse, Mt. Airy, Mt. Vernon, Rosewell, Stratford Hall, Sabine Hall, Shirley, Little England, the U.S. Capitol, and the British Embassy in Washington, D.C. These photographs form the core of the collection. The John A. Barrows Photograph Collection is an important adjunct to existing groups of photographic documentation for buildings in Williamsburg's historic area and of Virginia architecture. SCOPE AND CONTENTS Black and white photographs, negatives, postcards, and miscellaneous items of Norfolk native John Alden Barrows (b. ca. 1905, d. 1931), architect for the Colonial Williamsburg Restoration. The photographs--some taken by Barrows, Thomas Waterman, Milton Grigg and others--remain in their original order, which follows a somewhat erratic alphabetical arrangement by site/subject. The John A. Barrows Photograph Collection contains photoprints, taken mainly in Virginia and South Carolina, negatives, portraits, and personal papers and objects. The Photoprints series comprises the bulk of the collection, numbering close to 800 items. The photos, taken by architect and photographer John A. Barrows, display homes, churches, college buildings, and other structures along the eastern seaboard of the United States. Most of the photos were taken in Virginia and South Carolina, but other locations include New Jersey and Maryland. The prints were made in two sizes, 2.5x4 inches and 5x7 inches. The Negatives series has not been inventoried. John A. Barrows is the subject of the portraits found in the Portraits Series. The five images were all taken at different times. The final series, Personal Papers and Objects, includes some of Barrows' writings as well as memorabilia from trips and celebrations. Creator An entity primarily responsible for making the resource Barrows, John A. Date A point or period of time associated with an event in the lifecycle of the resource Circa 1930 Is Part Of A related resource in which the described resource is physically or logically included. John A. Barrows Photograph Collection, MS1996.22 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 Gelatin silver print Physical Dimensions The actual physical size of the original image. 2.5 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 Exterior Detail, Wilton Description An account of the resource Detail of exterior architrave and cornice soffitt, Wilton, originally Henrico County, now Richmond, Virginia Creator An entity primarily responsible for making the resource Barrows, John Subject The topic of the resource Wilton House Museum Architecture, Domestic - Virginia - Williamsburg Historic buildings - Virginia - Williamsburg Is Part Of A related resource in which the described resource is physically or logically included. John A. Barrows Photograph Collection, MS1996.22, Box 2 Format The file format, physical medium, or dimensions of the resource jpeg Extent The size or duration of the resource. 1 photograph Type The nature or genre of the resource Image Identifier An unambiguous reference to the resource within a given context Bar-750. See also 1991-732 CN. 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 Cornices Dentils John Barrows Richmond Virginia Wilton https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/bcb1463eef6e558310f543910501290a.jpg?Expires=1782345600&Signature=PfPO0WYYN1Q1NOcAT3oqCRyi6CRfbQOBwTwL4y1E-Vi9EDWJMBis-mFeggUtGBSN--A%7E9XGSZNI0Me5JdnILhRyV0esevcrbwY-AeAso3E4ISqj6U4Msy7M6SBedIdMGbt51B0MVMkc12QjDhzggn2Enm1jisfvUPt6MPzOCgJ1RgIF0-0yBZ5hbW0uklK8-yicAvXuAu88fj%7EHc5gVOp933m-OeA1dOn2WWPSOm898oz0yPy7SrwtmW2cuqHL3rvB3SzsG5sJxi7aQYv5Zp8f8mora2HSYcDBgZvtWP7cXNxsYACmuO88CZBfZfyVVmvex6m8Vwj41z6euLs1Rx5A__&Key-Pair-Id=K6UGZS9ZTDSZM 4725d178b393cebf0477a90e24fcb81b 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 Edward Beckwith Photograph Collection Subject The topic of the resource Beckwith, Edward A. Photographs - Virginia - Williamsburg Architecture, Domestic - Virginia - Williamsburg Architecture, Colonial - Virginia - Williamsburg Historic buildings - Virginia - Williamsburg Creator An entity primarily responsible for making the resource Beckwith, Edward A. Format The file format, physical medium, or dimensions of the resource jpeg Extent The size or duration of the resource. 363 photographs 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 Description An account of the resource Another collection of photos purchased by the Boston architectural firm of Perry, Shaw & Hepburn in 1930 originated with photographer and town resident Edward A. Beckwith. A letter preserved in Corporate Archives indicates that Mr. Beckwith dropped off a selection of images with Dr. W.A.R. Goodwin who forwarded a list of their subjects to Perry, Shaw & Hepburn for their consideration. Beckwith’s photos date to 1926-1933, a critical period in the town’s transformation. Tremendous changes began to occur in rapid succession as properties were acquired, buildings moved or torn down, foundations unearthed, and the first exhibition building, the Raleigh Tavern, opened in September 1932. While he was never on the architectural team’s payroll, Beckwith’s images attracted interest and became part of the growing archive assembled to aid ongoing restoration work. Beckwith’s subjects encompass a broader geographic area and feature many examples of colonial homes in the mid-Atlantic region examined by the architects as part of their fieldwork. It is possible he accompanied them on some of their trips and helped to document extant structures. His images of Williamsburg are purely architectural in focus and highlight aspects of surviving colonial architecture under study. They offer a contrast to other pre-restoration photo collections which give glimpses into town life with street vistas, carriages, automobiles, and residents. As the third decade of the twentieth century started in Williamsburg, Beckwith stood poised with his camera to change the focus to the architectural transformations that were soon to take place. Evidence of early steps towards investigating structures and removing nineteenth-century additions and modifications is visible in several of his compositions. His contrasting views of the George Wythe House in 1926 and 1929 document its transition from a dilapidated and deteriorating building to the headquarters for Dr. Goodwin’s office to oversee restoration activities. The collection encompasses black and white photographs and associated negatives documenting extant colonial era architecture throughout the state of Virginia in the late 1920s. They offered crucial visual references of specific architectural features of interest for the restoration of eighteenth century buildings in Williamsburg’s historic area. Williamsburg, Virginia structures depicted include Carter’s Grove, Barraud House, Bassett Hall, John Blair House, Bracken House, Thomas Everard House, Bruton Parish Church, Nelson-Galt House, Prentis Store, Powell House, The Quarter, Peyton Randolph House, Semple House, Tazewell Hall, Travis House, St. George Tucker House, Benjamin Waller House, and George Wythe House. In addition, many architectural sites elsewhere in Virginia that were visited and examined by the architectural team are represented in the photographs. They include Abingdon Church, Auburn, Belleville, Bonne Elms, Elmwood, Glebe House, Green Plains, Claremont Manor, Four Mile Tree, Hayfield, Jamestown Church, Kinloch, Larabee House, Little England, Lower Brandon, Mount Airy, Mount Clement, Nelson House, Port Royal, Prospect, Rosegill, Shirley, Smith’s Fort, Upper Brandon, Warner Hall, Westover, and Wilton. All of the photos are 11 x 14 inch gelatin silver prints on paper. Originally presented in two folios, they clearly demonstrate a more direct intent to create aesthetically pleasing images that could possibly be used in a future architectural publication. Date Created Date of creation of the resource. 1926-1929 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 silver print Physical Dimensions The actual physical size of the original image. 11 x 14 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 Mount Clement Fireplace Subject The topic of the resource Historic buildings - Virginia - Essex County Architecture, Domestic - Virginia - Essex County Fireplaces - Virginia - Essex County Paneling - Virginia - Essex Couty Description An account of the resource Interior paneling, architrave trim, and fireplace in Mount Clement, Essex County, Virginia Creator An entity primarily responsible for making the resource Beckwith, Edward A. Date A point or period of time associated with an event in the lifecycle of the resource 1926 Date Created Date of creation of the resource. 1926 Is Part Of A related resource in which the described resource is physically or logically included. Edward Beckwith Photograph Collection, AV2009.5, Box 1 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 Be223 (see also Bec-22) 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 Essex County Fireplaces Mount Clement Virginia https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/69ff73943a2caa5fdcc60eb952069843.jpg?Expires=1782345600&Signature=VTAI9APHymSvwDtzHGH0O41JZ3D0alsvPhuwyZHCkgDu-RUQubF09if5-0%7EJv63wdFj5ZHfyByGZ7MU%7EfqpWfUdZMAr0BF%7EHhPujD56m2ceFzfrxv9zZhRs51KloYlF2FvaLQx69Kr4usZ2hS2xIG3h55HwDDaM65L62ImrZwjANMMynA8thSK01SsrwGh-so-T7YMzkG17UK-GOP2iTza6lThybgmFOpRHKk-ujG5x6uDcDvKBKPnDSOlMzYHL1OVPXeuKf4m5xOUPwhdAyZtmLdgZnUkbGJp-fGu5MWKSvmeOHoDuNSqmM%7EECM5gf5dWi1fUh-dEcxr1dyRkyXSA__&Key-Pair-Id=K6UGZS9ZTDSZM b3165c85642a834c39276d998d102114 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 William Finnie House Rights Holder A person or organization owning or managing rights over the resource. Special Collections, John D. Rockefeller Jr. Library, The Colonial Williamsburg Foundation Identifier An unambiguous reference to the resource within a given context PSC-017 Subject The topic of the resource William Finnie House (Williamsburg, Va.) Historic buildings - Virginia - Williamsburg Architecture, Domestic - Virginia - Williamsburg Block 02. Building 07. Description An account of the resource Hand-colored lantern slide featuring photo of exterior elevation of William Finnie House, formerly known as Captain Orr's Dwelling, taken by F.S. Lincoln in 1935. It is the seventeenth 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. Two costumed hostesses stand at the gate of the William Finnie House in 1935. 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 Publisher An entity responsible for making the resource available Pacific Stereopticon Co. Is Part Of A related resource in which the described resource is physically or logically included. Pacific Stereopticon Company Lantern Slide Collection Format The file format, physical medium, or dimensions of the resource jpeg Type The nature or genre of the resource Image Architraves Brick Pathways Bull's-Eye Windows Chimneys Colonial Architecture Columns Cornices Costumed Interpreters Dentils Domestic Architecture F.S. Lincoln Fences Francis Street Gardens Gates Hostesses Lantern Slides Oculus Windows Pacific Stereopticon Company Pediments Porches Porticoes Shutters Virginia Weatherboarding William Finnie House Williamsburg https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/4d2da48f3dd0cd5fda7bbbbf2c398869.jpg?Expires=1782345600&Signature=vifxy5li%7EnF99xd8KfvspT2Pe4IrJd7n%7Ev-8jVpznrjviIgBAWtXe1Pbwd4MkgJ7Y77Q5jH4NK6vQQCGoswqhpgh28-GgqhCRWgvGCSEkyk69DFVu4jZZxHyCfed-PDkZeSyaLBX2xHv%7E%7EIuM83gdtUAtk374lCTeg4sQ7I1HF%7EgcJE3BrdzbUnGzyNM-%7EXSKcJYZsNFQuuJGEWzC1CdUduF1-eLUxWvDdVATXMwLn7yrNCAVRaZj6tTOHu--19XB5Qo-xPMC9bGb-6erOsg3Q4IZalrDa55ws0xRDnOdOINjCPh0WkSvQMhdhqTbLt70JycTx6vWK1ci5-Jfvh5Pg__&Key-Pair-Id=K6UGZS9ZTDSZM 8b3958de07688ac85bd202c2b2e2bf47 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 979 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 &amp; 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 &amp; Walker, McKim, Mead, &amp; 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 Francis Street looking towards the William Finnie House. 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 LC357P1 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 Dentils Domestic Architecture Exteriors F.S. Lincoln Fences Francis Street Historic Buildings Oculus Windows Pediments Porches Porticoes Shutters Stairs Steps Transoms Virginia Weatherboarding Williamsburg https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/dbdb32714df5d56981c4686b9eb95aab.jpg?Expires=1782345600&Signature=SVj33tDAzumO9mqPK21yFlx4QSZGq1ciqXlAqVNyWbGMAx43qi-D19sLd-J6qpRNndGUn8tMMlqAAwkoXtg-2cDNGQAMhqW%7EYkZcYiqZetXmk6AfNQtsQ7iKu06%7ETdpXH%7EAHAISXSGtEoLWVUeSPdPz4UluMvMh%7EYPjVJe5XeizM1WKxm0wDpizrWqRv9W-1rQRT9jS4%7EsUumtcvndInthjyjTshT12TfVD%7EUAL-yRwFtkxhKEcPouPgVuZThAik4LSUQJfN4jpcIzCGe3voMmCe1xOCICsgEimI4vv18jR2%7EZRkcrslE1CY0nLmDvirbO2k6CHTcPbrnp70EJ4j5g__&Key-Pair-Id=K6UGZS9ZTDSZM 33bd76952bd83f429208900427f178a1 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 &amp; 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 &amp; Walker, McKim, Mead, &amp; 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 Right 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 Two costumed hostesses stand at the gate of the William Finnie House in 1935. 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 LC357P3 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 Costumed Interpreters Dentils Domestic Architecture Exteriors F.S. Lincoln Fences Francis Street Gates Historic Buildings Hostesses Oculus Windows Pediments Porches Porticoes Shutters Virginia Weatherboarding Williamsburg https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/ea3c9625cc2de16773e3520a8f689dea.jpg?Expires=1782345600&Signature=ooQxJBFgRlIvEFK3Tz8lXc4PYyzRIqh3-PBvsRpHMBPxnM4ifT73UC%7Ep8-odb2N3tD5iWG9rAQJLKUZbBn8Q6eX2DxijweNfIoda5pLYbYihPW7IRWQW4QnEDLkf1urSOoLSzA%7E3O6MVyEKnSwQGIYaS6FZBJbd6Bf9GFhWaSrzZCa4pHlwH-L8-xaDecEZmmvx-q1bNT2lo-%7EQcrtgS-ncRxBYruA0%7EyaB2M7OAssQ2rM3MoZpAG6dxypqpU2dC7dA%7E4SuQhWgPuFUvhVT3LYggZ45nJB63xIcH514lmpg22WX5bvrh5FDxh8v8Cw3aMUIQjYd-CrFgRmCAJUOY2w__&Key-Pair-Id=K6UGZS9ZTDSZM d8049f3451a2ae9ab59462774f6ddbc3 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 608 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 &amp; 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 &amp; Walker, McKim, Mead, &amp; 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 Francis Street looking towards the William Finnie House. 1935. 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 LC357P5 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 Francis Street Historic Buildings Lampposts Oculus Windows Pediments Porches Porticoes Shutters Street Scenes Virginia Weatherboarding Williamsburg https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/37fcdf361a46e1c2c0287464557465b2.jpg?Expires=1782345600&Signature=PupEnsqFdWfnNOiETlnKQNHfWYOT%7E0OBNJqx4Mp79HKCjQ98b9MuGA1BT3b17YCPMpGfNyuXuYGhmLFs7UbLLMw-gecx35hVydFchXhM9ncfsh1C0gzklvPWHH7rCjFcAW6Nx7Q6evy-cKSfz5CgnDdgZDrRk01t5aUh%7EIwtK8SSvsod5pFfW-8A8jUZeqpD0K2PqIXmZoUwO45sVIU-EF2ROopCpNJudav-CBgaHPD%7ED8QOFgE6a-c34iITcMFOecK9611U2IJD1uvSHXAR7o%7Eljxr5udRBMGaxLc2QjTXe%7EWiug4tm0U9J8RUYnS5SqWMBEpAJmP5bGwnkFbKqDw__&Key-Pair-Id=K6UGZS9ZTDSZM aeff84a462c18bb9983712228505c3d5 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 &amp; 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 &amp; Walker, McKim, Mead, &amp; 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 https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/dd07fa4279def1b092b2257f92201eeb.jpg?Expires=1782345600&Signature=TM8V72lh1oINtspLiqc-3JplFNY4KwaCCkm7oBqAyKY3hLYhqE28wLGILqVzGJsSKUAvLNWpnNI9F6J9v4f4xLWaVAzjxd49wqePCSBlPJDveenGy5Abo1iPK1jKW4W1RPjEjslNqXOJKTfwqI5iDP0Zc-8DUATFCK5yLdeVAsmdB5A7edtHl8PqwuSFaxdTe-SZKQvutJ2LifLxTYcw3Ip7O8I6wO1DYcqTY3v0zWbKXKx-zpnY%7EosHEsHEw6Ks0uBy17VKsVp-72QP2b6dEuB8JzXwjw3y8IPXVIRDWkRyxXkoYlBY31TaMHMXccyzetS3M6CjmgfOxAyFEFAR%7EA__&Key-Pair-Id=K6UGZS9ZTDSZM 181b5bf638d4342d38fd8c8d6512109d 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 971 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 &amp; 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 &amp; Walker, McKim, Mead, &amp; 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 William Finnie House Subject The topic of the resource William Finnie House (Williamsburg, Va.) Historic Buildings-Virginia-Williamsburg Architecture, Domestic-Virginia-Williamsburg Decoration and ornament - Federal style Block 02. Building 07. Description An account of the resource This view of the north front of the William Finnie House shows the property as first restored. An original structure remaining intact from the late eighteenth century, the building is admired as an early example of Federal architecture and especially for its Doric-style entrance porch, reflecting colonial familiarity with architectural pattern books of the period. 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 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 LC357P2 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 Francis Street Historic Buildings Oculus Windows Pediments Porches Shutters Transoms Virginia Weatherboarding William Finnie House Williamsburg