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&#13;
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&#13;
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&#13;
Images of Carter’s Grove Plantation are included due to its ownership by the Foundation until sale in the early twenty-first century. Van Cortlandt Manor, in Westchester Co., New York is also documented due to its acquisition by John D. Rockefeller, Jr. in 1953. The restoration there was carried out by architects from Colonial Williamsburg and the Foundation’s drawing files contain the plans for this work. The house today is a National Historic Landmark belonging to Historic Hudson Valley.&#13;
&#13;
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&#13;
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&#13;
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&#13;
In some instances, the images are the first generation master prints, and notes on backs of photographs sometimes identify the people shown and describe what is shown—especially in those documenting archaeological excavations. Usually, the Foundation’s archaeological drawings (also in the Library’s Special Collections Section) show the exact positions and directions from which certain shots were made. Evolution of the work of restoration and reconstruction can be followed chronologically in most instances, although the collection has not been expanded since its transfer from the Architectural Research Department in the 1980s.&#13;
&#13;
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&#13;
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&#13;
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&#13;
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&#13;
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&#13;
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&#13;
The collection is organized according to the Foundation’s in-house Block and Building System. Initial folders on properties identify the various names associated with buildings through time. Some houses have been known by a succession of names and, in most instances, are now called by the builder’s name or that of the most famous occupant.&#13;
&#13;
In some instances, the images are the first generation master prints, and notes on backs of photographs sometimes identify the people shown and describe what is shown—especially in those documenting archaeological excavations. Usually, the Foundation’s archaeological drawings (also in the Library’s Special Collections Section) show the exact positions and directions from which certain shots were made. Evolution of the work of restoration and reconstruction can be followed chronologically in most instances, although the collection has not been expanded since its transfer from the Architectural Research Department in the 1980s.&#13;
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Images of Carter’s Grove Plantation are included due to its ownership by the Foundation until sale in the early twenty-first century. Van Cortlandt Manor, in Westchester Co., New York is also documented due to its acquisition by John D. Rockefeller, Jr. in 1953. The restoration there was carried out by architects from Colonial Williamsburg and the Foundation’s drawing files contain the plans for this work. The house today is a National Historic Landmark belonging to Historic Hudson Valley.&#13;
&#13;
Following the portion concerning Williamsburg’s Historic Area buildings are a series of notebooks identified by subject. Topics included are: aerial views of the Historic Area from 1925 - 1956, Williamsburg street views, architectural details, Williamsburg Shopping Center, mantels (salvaged models bought in early restoration), 18th-c. theaters, Kingsmill, H. Avery Tipping’s English Houses, and Johannes Kip engravings (bird’s-eye views of English country houses).&#13;
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&#13;
Contract photographers Thomas Layton and Frank Nivison took many of the earliest images of the restoration work. Layton, a photographer who operated a studio at 507 E. Broad Street in Richmond, Virginia, worked for the restoration between 1928 and 1930 creating periodic photo documentation of work at the Wren Building, Capitol, Raleigh Tavern, and Ludwell-Paradise House, as well as many pre-restoration views of sites throughout the Historic Area. Frank Nivison, a photographer from the University Film Foundation at Harvard University, took over in late 1930 and spent the next five years meticulously photographing each successive stage of work at sites under reconstruction or restoration. Photos by Layton and Nivison are supplemented by images of pre-restoration Williamsburg that the architects collected from town residents and had copied for research use in the photo albums. They include images taken by Clyde Holmes, D.N. Davidson, and Edward Beckwith. In addition, the albums encompass some photographs taken by members of the architectural team, including Landscape Architect Arthur Shurcliff and Interior Designer Susan Higginson Nash. Post-1930s photos within the albums encompass those taken by official Colonial Williamsburg photographers such as Thomas Williams, Loring J. Turner, Dan Spangler, Chuck Kagey, and Steve Toth to document the continuing evolution of architectural and archaeological investigations and restoration work at each site.&#13;
&#13;
The collection is organized according to the Foundation’s in-house Block and Building System. Initial folders on properties identify the various names associated with buildings through time. Some houses have been known by a succession of names and, in most instances, are now called by the builder’s name or that of the most famous occupant.&#13;
&#13;
In some instances, the images are the first generation master prints, and notes on backs of photographs sometimes identify the people shown and describe what is shown—especially in those documenting archaeological excavations. Usually, the Foundation’s archaeological drawings (also in the Library’s Special Collections Section) show the exact positions and directions from which certain shots were made. Evolution of the work of restoration and reconstruction can be followed chronologically in most instances, although the collection has not been expanded since its transfer from the Architectural Research Department in the 1980s.&#13;
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Images of Carter’s Grove Plantation are included due to its ownership by the Foundation until sale in the early twenty-first century. Van Cortlandt Manor, in Westchester Co., New York is also documented due to its acquisition by John D. Rockefeller, Jr. in 1953. The restoration there was carried out by architects from Colonial Williamsburg and the Foundation’s drawing files contain the plans for this work. The house today is a National Historic Landmark belonging to Historic Hudson Valley.&#13;
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Contract photographers Thomas Layton and Frank Nivison took many of the earliest images of the restoration work. Layton, a photographer who operated a studio at 507 E. Broad Street in Richmond, Virginia, worked for the restoration between 1928 and 1930 creating periodic photo documentation of work at the Wren Building, Capitol, Raleigh Tavern, and Ludwell-Paradise House, as well as many pre-restoration views of sites throughout the Historic Area. Frank Nivison, a photographer from the University Film Foundation at Harvard University, took over in late 1930 and spent the next five years meticulously photographing each successive stage of work at sites under reconstruction or restoration. Photos by Layton and Nivison are supplemented by images of pre-restoration Williamsburg that the architects collected from town residents and had copied for research use in the photo albums. They include images taken by Clyde Holmes, D.N. Davidson, and Edward Beckwith. In addition, the albums encompass some photographs taken by members of the architectural team, including Landscape Architect Arthur Shurcliff and Interior Designer Susan Higginson Nash. Post-1930s photos within the albums encompass those taken by official Colonial Williamsburg photographers such as Thomas Williams, Loring J. Turner, Dan Spangler, Chuck Kagey, and Steve Toth to document the continuing evolution of architectural and archaeological investigations and restoration work at each site.&#13;
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The collection is organized according to the Foundation’s in-house Block and Building System. Initial folders on properties identify the various names associated with buildings through time. Some houses have been known by a succession of names and, in most instances, are now called by the builder’s name or that of the most famous occupant.&#13;
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	Nivison set up a small photographic studio in a room in the Bruton Parish House. His equipment included a Zeiss camera, 5x7 inch, with a F 4.5 lens and a special magazine for cut films, along with a Mitchell tripod with a ball and socket head. His darkroom equipment consisted of an Eastman Auto-focus Enlarger, printing machines, and various accessories such as tanks and scales. Over the course of five years, he took more than 7,000 photographs documenting each stage of the restoration or reconstruction of various 18th-century buildings in Williamsburg. Copies of these photographs were forwarded to the offices of Perry, Shaw, &amp; Hepburn in Boston so that the architects could monitor the progress of various projects. Nivison’s photographs were also used to produce postcards, “before and after” lantern slides, and publicity relating to the restoration of Williamsburg.&#13;
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	By late 1935, Nivison had started taking on a lot of outside photography business and Colonial Williamsburg officials felt he should establish himself as an independent photographer. Nivison’s employment with Colonial Williamsburg terminated on July 1, 1935. However, Colonial Williamsburg continued to utilize his services on an as needed basis and assisted him in setting up his own business in Williamsburg. Unfortunately, Nivison did not attract enough outside commissions to enable him to operate independently and filed for bankruptcy in 1937. He applied to Colonial Williamsburg for a monthly retainer fee for his periodic services and was given $100.00 per month to draw upon in 1938. With the advent of World War II, Nivison moved back to Massachusetts in 1940.&#13;
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Most of the photos in the Susan Higginson Nash Photograph Collection date to the early 1930s, when steps to be taken in the physical restoration of the colonial capital were still under study. Sites include many of the important extant eighteenth-century houses in the Tidewater region of Virginia, such as Shirley, Westover, Mt. Airy, Sabine Hall and Marmion. Excursions to such sites were made to help in determining proper precedents for the work to be carried out in Williamsburg's Historic Area.</text>
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