1
20
136
-
https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/d7ac1f13fbb0d56b14b873b4af8702f3.jpg?Expires=1712793600&Signature=q2JxcO1Yq6Z42xbO3HAKTtp5wXIOJoiYRIJMxzUUuT2crUIW4ZuNyuP8o6JTkgN30IBNxqZsZ24c5r4VY7KEFdITR1xtPGb6Tc0olHP45aUr2N63kAJi41etwtX5iR2xjuxbeczusNpfJjj7CJAKim0dDxyEQJ4%7EnDVoAQ7DND4lxOy%7ENzZys9KVyfibK9eAdFqp%7EwbWSkD9bJ6LAuPVDsePfDdL15NJlwHR1qg4ITJ7YnGNJEhUn5SZFc7JNAQyreg%7EcuU%7EzDB2sEy10xDUQd%7EHeedw%7En3SoLmKkBt4JOD6zt44kpJNSWGdqZFcZ4cjXKlrAjHV8wpdbOmXcIqWhQ__&Key-Pair-Id=K6UGZS9ZTDSZM
73d35ac61da4886f3a05a876149d1c32
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
967
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
F.S. Lincoln Photography Collection
Description
An account of the resource
The FS Lincoln Collection
Biographical Sketch
Mr. Fay S. Lincoln (known professionally as F.S. Lincoln) operated a photography studio in New York City from the 1930s until the mid 1960s. He was born in Keene, New Hampshire in 1894 and attended the Massachusetts Institute of Technology. Although he received training as an engineer, Mr. Lincoln chose to become a professional photographer in 1929, when he opened the firm of Nyholm & Lincoln in conjunction with another photographer, Peter Nyholm, in New York City. A few years later, he opened his own studio at 114 East 32nd St.1
In 1932, Lincoln began corresponding with Kenneth Chorley, President of the Colonial Williamsburg Foundation, about the possibility of contracting with the Foundation to photograph the completed restoration work at Williamsburg. Lincoln had learned that John D. Rockefeller, Jr. was looking for someone to create a master collection of photos of Williamsburg through Arthur S. Vernay, an acquaintance of Abby Aldrich Rockefeller. In his correspondence, Lincoln noted he had completed photographic assignments for many of the top architects and designers in New York, including Arthur S. Vernay, Joseph Urban, James Gamble Rogers, Voorhees, Gmelin & Walker, McKim, Mead, & White, Robert Locher, and Eugene Schoen. He also pointed out that he had sold architectural photos to many prominent magazines, including "Architectural Record," "National Geographic," "Country Life," "Architectural Forum," and "Spur."2
Lincoln's credentials, along with sample photographs and recommendations from magazine editors, enabled him to secure a contract with Colonial Williamsburg on April 22, 1935. According to the terms of the contract, Lincoln was hired to prepare a master collection of photographs and negatives that Colonial Williamsburg could sell to tourists and residents of Williamsburg, as well as use for promotional purposes. Lincoln retained the right to sell copies of his photographs at his New York studio, provided he consulted with the Foundation regarding the proposed use of the photographs. He also retained title to all negatives and copyright for all photos until the termination of his business. Plans for a traveling exhibition of Lincoln's photographs of Williamsburg were also mentioned in the contract.3
During 1935, F.S. Lincoln traveled to Williamsburg at seasonal intervals to photograph views requested by the Foundation. A panel of Colonial Williamsburg employees reviewed each series of photos and selected a group to be added to the master collection. F.S. Lincoln photos illustrated two portfolios about Colonial Williamsburg published in the "Architectural Record" in December 1935 and November 1936. Full-page black and white photos of restored buildings and gardens accompanied articles on the restoration written by Kenneth Chorley, Fiske Kimball, William G. Perry, and Arthur Shurcliff. Thus, Lincoln's photos gave the American public their first introduction to the completed restoration.
Lincoln had also been hired by Colonial Williamsburg to create a group of photographs of Williamsburg that could be exhibited. Correspondence between staff members indicates that John D. Rockefeller, Jr. hoped to mount a traveling exhibit of Williamsburg photographs. An exhibit of a selection of Lincoln's views of Williamsburg, along with photos he took for "Harper's Bazaar," "House and Garden," "House Beautiful," "Vanity Fair," "National Geographic," and "Town and Country," was held at the Rabinovitch Gallery in New York City from October 4-17, 1935.
Although Foundation employees were satisfied with the quality of Lincoln's photographs, they were dismayed by the cost of individual prints and enlargements. Memos exchanged between members of the marketing staff indicate that employees were having a hard time convincing distributors to purchase enlargements of the Lincoln photos for display in shop windows. As a result, the Foundation's agreement with F.S. Lincoln was terminated on April 21, 1936.4
Despite this setback, F.S. Lincoln secured contracts for many other architectural photography projects in the 1930s. He received numerous commissions to photograph buildings in New York City and also traveled abroad on several assignments. In 1934, he completed a portfolio of photos of Mont St. Michel and in 1938 he toured the deep South and photographed examples of antebellum architecture. Lincoln's photos were widely published in the 1930s and 1940s in such magazines as "Architectural Record," "House Beautiful," "National Geographic," "Country Life," and "Architectural Forum." In addition, he published a book of his photographs in 1946 entitled "Charleston: Photographic Studies by F.S. Lincoln."5
F.S. Lincoln continued to operate a photography studio in New York City until 1965, when he retired and moved to Center Hall, Pennsylvania to live with his sister. He forwarded all of his negatives of Williamsburg buildings to the Foundation in 1972, along with a letter stating that “the copyright of the photographs has run out, so you are free to use them as desired.”6 Upon his death in 1976, the remainder of Lincoln's archive of prints and negatives, as well as some business papers, were donated to the Pennsylvania State University Archives.
Scope and Contents
The F.S. Lincoln collection consists of black and white negatives and prints taken by Mr. Lincoln in preparation for the publication of "The Restoration of Colonial Williamsburg in Virginia," a series of articles appearing in the December 1935 and November 1936 issues of "The Architectural Record." Both issues featured a portfolio of buildings and gardens in the newly restored historic area of Williamsburg.
In order to produce a large pool of photos for use in these portfolios, Mr. Lincoln created comprehensive visual documentation of the work completed during the initial phases of the restoration (1927-1935.) He photographed the exteriors and interiors of thirty restored buildings, including the exhibition buildings open to the public, such as the Governor's Palace, the Capitol, Raleigh Tavern, Bruton Parish Church, the Wren Building, and the Powder Magazine. In addition, he captured exterior views of some of the shops open on Merchant's Square and restored buildings adapted for public use, such as the Public Library. He also photographed many of the gardens and garden ornaments throughout the restored area.
The collection is organized into series by format. Series included in the collection are negatives; bound matted and signed prints; unbound matted and signed prints; and small albums. Within each format, items are organized according to the numbering system assigned by Mr. Lincoln. The first three digits of numbers assigned to the images correspond to a particular building or subject category. For example, all images of the Capitol have numbers beginning with 325 and all miscellaneous views have numbers beginning with 365. After these first three digits, Lincoln added a P for print and then a successive number for each view. For example, the first view of the Capitol is number 325P1. An “LC” prefix has been added to all image numbers by the Colonial Williamsburg Foundation to identify the images as coming from the Lincoln Collection.
Endnotes
1 Champagne, Anne, “Fay S. Lincoln Collection,” History of Photography 17, (Spring 1993): 127-128.
2 F.S. Lincoln to B.W. Norton, October 18, 1933. Colonial Williamsburg Foundation Archives.
3 Agreement dated April 22, 1935 between Colonial Williamsburg, Inc. and F.S. Lincoln, Colonial Williamsburg Foundation Archives.
4 Mr. Norton to Mr. Darling, February 22, 1937; Kenneth Chorley to F.S. Lincoln, April 6, 1937, Colonial Williamsburg Foundation Archives.
5 Champagne, Anne, “Fay S. Lincoln Collection,” History of Photography 17 (Spring 1993): 128.
6 F.S. Lincoln to James R. Short, May 15, 1972, Colonial Williamsburg Foundation Archives.
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
Gelatin or collodian printing out paper with platinum toning, mounted on board
Physical Dimensions
The actual physical size of the original image.
8x10 inches
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Governor's Palace, Canal
Subject
The topic of the resource
Block 20. Building 03.
Governor's Palace (Williamsburg, Va.)
Historic buildings -- Virginia -- Williamsburg
Public buildings -- Virginia -- Williamsburg
Gardens -- Virginia -- Williamsburg
Description
An account of the resource
View of the Governor's Palace canal, 1935. The canal, in addition to the garden terraces to the left (also known as "falling gardens") and Ice House (out of view), are original eighteenth-century features of the Palace gardens. The structure to the left of the Canal is the Palace’s Toolhouse, and behind the Toolhouse, the cupola of the Governor’s Palace is visible. To the far right of the Canal, above the treeline, the steeple of Bruton Parish Church is observable in the distance.
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
LC327P35
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation
Boats
Bruton Parish Church
Canal
Cupolas
Exteriors
F.S. Lincoln
Falling Gardens
Garden Terraces
Gardens
Governor's Palace
Historic Buildings
Public Buildings
Steeples
Tool House
Virginia
Weeping Willows
Williamsburg
-
https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/38babd3a0988e3afc3ec990ada411fd3.jpg?Expires=1712793600&Signature=OtmyCLDwJtGnVUHmJEWMbrXHq84xcHnbo7Qt9ZwDOcL%7EizcpqhimeOuzeokVLX13idV1mi4LDbj2%7EKEkOewKDbh7Pq-6fUWNeqr1OtU1oxlim65VqzIrLgO5DffDL%7EWqw22b%7Eauw8C1iTBogF1821YYxO88g3EsaLFRhsAFwhqiSckqyRrmYCRK0tejNoIYlaYwv-IIwvJGXgs7%7E%7EI3coYJnRMdeI-yl7j1NLjftBMlrEiUBbrk8h2WPfDOJf08AvuuoOiFd4SaF95KKBEiEDrmbLkS72cwoCIWEz4iZC72Ctliuhuw3g9tysAjNlg6QgKK9uveWy0KyatXkX7SX7Q__&Key-Pair-Id=K6UGZS9ZTDSZM
928491f9d7b297e8681e0ed33182534f
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
972
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
F.S. Lincoln Photography Collection
Description
An account of the resource
The FS Lincoln Collection
Biographical Sketch
Mr. Fay S. Lincoln (known professionally as F.S. Lincoln) operated a photography studio in New York City from the 1930s until the mid 1960s. He was born in Keene, New Hampshire in 1894 and attended the Massachusetts Institute of Technology. Although he received training as an engineer, Mr. Lincoln chose to become a professional photographer in 1929, when he opened the firm of Nyholm & Lincoln in conjunction with another photographer, Peter Nyholm, in New York City. A few years later, he opened his own studio at 114 East 32nd St.1
In 1932, Lincoln began corresponding with Kenneth Chorley, President of the Colonial Williamsburg Foundation, about the possibility of contracting with the Foundation to photograph the completed restoration work at Williamsburg. Lincoln had learned that John D. Rockefeller, Jr. was looking for someone to create a master collection of photos of Williamsburg through Arthur S. Vernay, an acquaintance of Abby Aldrich Rockefeller. In his correspondence, Lincoln noted he had completed photographic assignments for many of the top architects and designers in New York, including Arthur S. Vernay, Joseph Urban, James Gamble Rogers, Voorhees, Gmelin & Walker, McKim, Mead, & White, Robert Locher, and Eugene Schoen. He also pointed out that he had sold architectural photos to many prominent magazines, including "Architectural Record," "National Geographic," "Country Life," "Architectural Forum," and "Spur."2
Lincoln's credentials, along with sample photographs and recommendations from magazine editors, enabled him to secure a contract with Colonial Williamsburg on April 22, 1935. According to the terms of the contract, Lincoln was hired to prepare a master collection of photographs and negatives that Colonial Williamsburg could sell to tourists and residents of Williamsburg, as well as use for promotional purposes. Lincoln retained the right to sell copies of his photographs at his New York studio, provided he consulted with the Foundation regarding the proposed use of the photographs. He also retained title to all negatives and copyright for all photos until the termination of his business. Plans for a traveling exhibition of Lincoln's photographs of Williamsburg were also mentioned in the contract.3
During 1935, F.S. Lincoln traveled to Williamsburg at seasonal intervals to photograph views requested by the Foundation. A panel of Colonial Williamsburg employees reviewed each series of photos and selected a group to be added to the master collection. F.S. Lincoln photos illustrated two portfolios about Colonial Williamsburg published in the "Architectural Record" in December 1935 and November 1936. Full-page black and white photos of restored buildings and gardens accompanied articles on the restoration written by Kenneth Chorley, Fiske Kimball, William G. Perry, and Arthur Shurcliff. Thus, Lincoln's photos gave the American public their first introduction to the completed restoration.
Lincoln had also been hired by Colonial Williamsburg to create a group of photographs of Williamsburg that could be exhibited. Correspondence between staff members indicates that John D. Rockefeller, Jr. hoped to mount a traveling exhibit of Williamsburg photographs. An exhibit of a selection of Lincoln's views of Williamsburg, along with photos he took for "Harper's Bazaar," "House and Garden," "House Beautiful," "Vanity Fair," "National Geographic," and "Town and Country," was held at the Rabinovitch Gallery in New York City from October 4-17, 1935.
Although Foundation employees were satisfied with the quality of Lincoln's photographs, they were dismayed by the cost of individual prints and enlargements. Memos exchanged between members of the marketing staff indicate that employees were having a hard time convincing distributors to purchase enlargements of the Lincoln photos for display in shop windows. As a result, the Foundation's agreement with F.S. Lincoln was terminated on April 21, 1936.4
Despite this setback, F.S. Lincoln secured contracts for many other architectural photography projects in the 1930s. He received numerous commissions to photograph buildings in New York City and also traveled abroad on several assignments. In 1934, he completed a portfolio of photos of Mont St. Michel and in 1938 he toured the deep South and photographed examples of antebellum architecture. Lincoln's photos were widely published in the 1930s and 1940s in such magazines as "Architectural Record," "House Beautiful," "National Geographic," "Country Life," and "Architectural Forum." In addition, he published a book of his photographs in 1946 entitled "Charleston: Photographic Studies by F.S. Lincoln."5
F.S. Lincoln continued to operate a photography studio in New York City until 1965, when he retired and moved to Center Hall, Pennsylvania to live with his sister. He forwarded all of his negatives of Williamsburg buildings to the Foundation in 1972, along with a letter stating that “the copyright of the photographs has run out, so you are free to use them as desired.”6 Upon his death in 1976, the remainder of Lincoln's archive of prints and negatives, as well as some business papers, were donated to the Pennsylvania State University Archives.
Scope and Contents
The F.S. Lincoln collection consists of black and white negatives and prints taken by Mr. Lincoln in preparation for the publication of "The Restoration of Colonial Williamsburg in Virginia," a series of articles appearing in the December 1935 and November 1936 issues of "The Architectural Record." Both issues featured a portfolio of buildings and gardens in the newly restored historic area of Williamsburg.
In order to produce a large pool of photos for use in these portfolios, Mr. Lincoln created comprehensive visual documentation of the work completed during the initial phases of the restoration (1927-1935.) He photographed the exteriors and interiors of thirty restored buildings, including the exhibition buildings open to the public, such as the Governor's Palace, the Capitol, Raleigh Tavern, Bruton Parish Church, the Wren Building, and the Powder Magazine. In addition, he captured exterior views of some of the shops open on Merchant's Square and restored buildings adapted for public use, such as the Public Library. He also photographed many of the gardens and garden ornaments throughout the restored area.
The collection is organized into series by format. Series included in the collection are negatives; bound matted and signed prints; unbound matted and signed prints; and small albums. Within each format, items are organized according to the numbering system assigned by Mr. Lincoln. The first three digits of numbers assigned to the images correspond to a particular building or subject category. For example, all images of the Capitol have numbers beginning with 325 and all miscellaneous views have numbers beginning with 365. After these first three digits, Lincoln added a P for print and then a successive number for each view. For example, the first view of the Capitol is number 325P1. An “LC” prefix has been added to all image numbers by the Colonial Williamsburg Foundation to identify the images as coming from the Lincoln Collection.
Endnotes
1 Champagne, Anne, “Fay S. Lincoln Collection,” History of Photography 17, (Spring 1993): 127-128.
2 F.S. Lincoln to B.W. Norton, October 18, 1933. Colonial Williamsburg Foundation Archives.
3 Agreement dated April 22, 1935 between Colonial Williamsburg, Inc. and F.S. Lincoln, Colonial Williamsburg Foundation Archives.
4 Mr. Norton to Mr. Darling, February 22, 1937; Kenneth Chorley to F.S. Lincoln, April 6, 1937, Colonial Williamsburg Foundation Archives.
5 Champagne, Anne, “Fay S. Lincoln Collection,” History of Photography 17 (Spring 1993): 128.
6 F.S. Lincoln to James R. Short, May 15, 1972, Colonial Williamsburg Foundation Archives.
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
Gelatin or collodian printing out paper with platinum toning, mounted on board
Physical Dimensions
The actual physical size of the original image.
8x10 inches
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Governor's Palace, Canal
Subject
The topic of the resource
Block 20. Building 03.
Governor's Palace (Williamsburg, Va.)
Historic buildings -- Virginia -- Williamsburg
Public buildings -- Virginia -- Williamsburg
Gardens -- Virginia -- Williamsburg
Description
An account of the resource
View of the Governor's Palace canal, 1935. The canal, in addition to the garden terraces to the left (also known as "falling gardens") and Ice House (out of view), are original eighteenth-century features of the Palace gardens. The structure to the left of the Canal is the Palace’s Toolhouse, and behind the Toolhouse, the cupola of the Governor’s Palace is visible. To the far right of the Canal, above the treeline, the steeple of Bruton Parish Church is observable in the distance.
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
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
LC327P37
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation
Bruton Parish Church
Canal
Canals
Cupolas
Exteriors
F.S. Lincoln
Falling Gardens
Garden Terraces
Gardens
Governor's Palace
Historic Buildings
Public Buildings
Steeples
Tool House
Virginia
Weeping Willows
Williamsburg
-
https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/1046b7f637f7e323c0f2ec08ebcb2275.jpg?Expires=1712793600&Signature=CedQaL264umX6blNlPGTfIBoE8-SzYT42gV62np9ufaz7zX4jdz4hgmqJ9Wmh%7EL57WeCjek2bdoQol864c9--YAYW2sAKBIzJskl3dvj1Smrwp%7ER5U4TY%7EfH74peRVRX%7Ep6YHwBFgfcfC6EwNKICh6MTZSutxqe%7ECyIIH0qkt%7ES7zahL5dL5BtH3bMBtZQUBY3MrreC47tG4dJKZwHVC37zezlfi4jbg3z-RAIUg0P0GJAf8MlifRgVAcLqKITXnWR4clDwe6dx0RebK0-D6wN7xJVNLWz35DK68T3s%7ECBYpRghHaiysisQqJWnBNWTQInchRWSR0VqeXvgP3570Jw__&Key-Pair-Id=K6UGZS9ZTDSZM
261ea43ac9583c77d1ea4305619d5b00
Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
Bit Depth
8
Channels
3
Height
768
Width
968
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
F.S. Lincoln Photography Collection
Description
An account of the resource
The FS Lincoln Collection
Biographical Sketch
Mr. Fay S. Lincoln (known professionally as F.S. Lincoln) operated a photography studio in New York City from the 1930s until the mid 1960s. He was born in Keene, New Hampshire in 1894 and attended the Massachusetts Institute of Technology. Although he received training as an engineer, Mr. Lincoln chose to become a professional photographer in 1929, when he opened the firm of Nyholm & Lincoln in conjunction with another photographer, Peter Nyholm, in New York City. A few years later, he opened his own studio at 114 East 32nd St.1
In 1932, Lincoln began corresponding with Kenneth Chorley, President of the Colonial Williamsburg Foundation, about the possibility of contracting with the Foundation to photograph the completed restoration work at Williamsburg. Lincoln had learned that John D. Rockefeller, Jr. was looking for someone to create a master collection of photos of Williamsburg through Arthur S. Vernay, an acquaintance of Abby Aldrich Rockefeller. In his correspondence, Lincoln noted he had completed photographic assignments for many of the top architects and designers in New York, including Arthur S. Vernay, Joseph Urban, James Gamble Rogers, Voorhees, Gmelin & Walker, McKim, Mead, & White, Robert Locher, and Eugene Schoen. He also pointed out that he had sold architectural photos to many prominent magazines, including "Architectural Record," "National Geographic," "Country Life," "Architectural Forum," and "Spur."2
Lincoln's credentials, along with sample photographs and recommendations from magazine editors, enabled him to secure a contract with Colonial Williamsburg on April 22, 1935. According to the terms of the contract, Lincoln was hired to prepare a master collection of photographs and negatives that Colonial Williamsburg could sell to tourists and residents of Williamsburg, as well as use for promotional purposes. Lincoln retained the right to sell copies of his photographs at his New York studio, provided he consulted with the Foundation regarding the proposed use of the photographs. He also retained title to all negatives and copyright for all photos until the termination of his business. Plans for a traveling exhibition of Lincoln's photographs of Williamsburg were also mentioned in the contract.3
During 1935, F.S. Lincoln traveled to Williamsburg at seasonal intervals to photograph views requested by the Foundation. A panel of Colonial Williamsburg employees reviewed each series of photos and selected a group to be added to the master collection. F.S. Lincoln photos illustrated two portfolios about Colonial Williamsburg published in the "Architectural Record" in December 1935 and November 1936. Full-page black and white photos of restored buildings and gardens accompanied articles on the restoration written by Kenneth Chorley, Fiske Kimball, William G. Perry, and Arthur Shurcliff. Thus, Lincoln's photos gave the American public their first introduction to the completed restoration.
Lincoln had also been hired by Colonial Williamsburg to create a group of photographs of Williamsburg that could be exhibited. Correspondence between staff members indicates that John D. Rockefeller, Jr. hoped to mount a traveling exhibit of Williamsburg photographs. An exhibit of a selection of Lincoln's views of Williamsburg, along with photos he took for "Harper's Bazaar," "House and Garden," "House Beautiful," "Vanity Fair," "National Geographic," and "Town and Country," was held at the Rabinovitch Gallery in New York City from October 4-17, 1935.
Although Foundation employees were satisfied with the quality of Lincoln's photographs, they were dismayed by the cost of individual prints and enlargements. Memos exchanged between members of the marketing staff indicate that employees were having a hard time convincing distributors to purchase enlargements of the Lincoln photos for display in shop windows. As a result, the Foundation's agreement with F.S. Lincoln was terminated on April 21, 1936.4
Despite this setback, F.S. Lincoln secured contracts for many other architectural photography projects in the 1930s. He received numerous commissions to photograph buildings in New York City and also traveled abroad on several assignments. In 1934, he completed a portfolio of photos of Mont St. Michel and in 1938 he toured the deep South and photographed examples of antebellum architecture. Lincoln's photos were widely published in the 1930s and 1940s in such magazines as "Architectural Record," "House Beautiful," "National Geographic," "Country Life," and "Architectural Forum." In addition, he published a book of his photographs in 1946 entitled "Charleston: Photographic Studies by F.S. Lincoln."5
F.S. Lincoln continued to operate a photography studio in New York City until 1965, when he retired and moved to Center Hall, Pennsylvania to live with his sister. He forwarded all of his negatives of Williamsburg buildings to the Foundation in 1972, along with a letter stating that “the copyright of the photographs has run out, so you are free to use them as desired.”6 Upon his death in 1976, the remainder of Lincoln's archive of prints and negatives, as well as some business papers, were donated to the Pennsylvania State University Archives.
Scope and Contents
The F.S. Lincoln collection consists of black and white negatives and prints taken by Mr. Lincoln in preparation for the publication of "The Restoration of Colonial Williamsburg in Virginia," a series of articles appearing in the December 1935 and November 1936 issues of "The Architectural Record." Both issues featured a portfolio of buildings and gardens in the newly restored historic area of Williamsburg.
In order to produce a large pool of photos for use in these portfolios, Mr. Lincoln created comprehensive visual documentation of the work completed during the initial phases of the restoration (1927-1935.) He photographed the exteriors and interiors of thirty restored buildings, including the exhibition buildings open to the public, such as the Governor's Palace, the Capitol, Raleigh Tavern, Bruton Parish Church, the Wren Building, and the Powder Magazine. In addition, he captured exterior views of some of the shops open on Merchant's Square and restored buildings adapted for public use, such as the Public Library. He also photographed many of the gardens and garden ornaments throughout the restored area.
The collection is organized into series by format. Series included in the collection are negatives; bound matted and signed prints; unbound matted and signed prints; and small albums. Within each format, items are organized according to the numbering system assigned by Mr. Lincoln. The first three digits of numbers assigned to the images correspond to a particular building or subject category. For example, all images of the Capitol have numbers beginning with 325 and all miscellaneous views have numbers beginning with 365. After these first three digits, Lincoln added a P for print and then a successive number for each view. For example, the first view of the Capitol is number 325P1. An “LC” prefix has been added to all image numbers by the Colonial Williamsburg Foundation to identify the images as coming from the Lincoln Collection.
Endnotes
1 Champagne, Anne, “Fay S. Lincoln Collection,” History of Photography 17, (Spring 1993): 127-128.
2 F.S. Lincoln to B.W. Norton, October 18, 1933. Colonial Williamsburg Foundation Archives.
3 Agreement dated April 22, 1935 between Colonial Williamsburg, Inc. and F.S. Lincoln, Colonial Williamsburg Foundation Archives.
4 Mr. Norton to Mr. Darling, February 22, 1937; Kenneth Chorley to F.S. Lincoln, April 6, 1937, Colonial Williamsburg Foundation Archives.
5 Champagne, Anne, “Fay S. Lincoln Collection,” History of Photography 17 (Spring 1993): 128.
6 F.S. Lincoln to James R. Short, May 15, 1972, Colonial Williamsburg Foundation Archives.
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
Gelatin or collodian printing out paper with platinum toning, mounted on board.
Physical Dimensions
The actual physical size of the original image.
8x10 inches
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Bruton Parish Church, Exterior
Subject
The topic of the resource
Bruton Parish Church (Williamsburg, Va.)
Block 21. Building 01.
Church architecture - Virginia - Williamsburg
Description
An account of the resource
<p>View of the exterior of Bruton Parish Church taken by F.S. Lincoln in 1935. A smaller seventeenth-century structure stood on the site from 1683 until 1715, when the larger and more elaborate cruciform-style church replaced it. Located at the edge of Palace Green on the corner of Duke of Gloucester Street and Palace Street, the church was originally designed by colonial Governor Alexander Spotswood. </p>
<p>A series of restoration efforts began under Dr. W.A.R. Goodwin's direction between 1903-1907 and continued periodically until completed in 1940. In this 1935 photo of the south facade of Bruton Parish Church, the building retains the Colonial Revival window shutters and screen doors installed by architect J. Stewart Barney during his 1906 renovation of the exterior, according to how be believed the church appeared in the eighteenth century. The shutters and screen doors were later removed during final restoration efforts in 1939, given the availability of further research information. </p>
<p>The original wooden frame of a small <strong><a href="http://emuseum.history.org/view/objects/asitem/items$0040:96228#.Ux8f1WraVEc.gmail">bull's-eye window (accession # AF-21.1.1)</a></strong>, removed from the east end of the church around 1906, is now in the Colonial Williamsburg Foundation's architectural fragments collection. Otherwise, the building's exterior walls and windows are original and the interior has been restored to its eighteenth-century appearance. Large bull's-eye windows are still visible today in the south-facing end of the church (facing Duke of Gloucester Street) and the east end (facing Palace Green). Bruton Parish continues to serve an active Episcopal congregation and has functioned as a site of worship for the community since the parish was first founded in 1674.</p>
<p> </p>
Creator
An entity primarily responsible for making the resource
Lincoln, F.S.
Date
A point or period of time associated with an event in the lifecycle of the resource
1935
Date Created
Date of creation of the resource.
1935
Rights
Information about rights held in and over the resource
This material is protected by copyright law (Title 17, U.S. Code). For reproduction queries: <a href="http://research.history.org/JDRLibrary/Visual_Resources/VisualResourcePermission.cfm">Rights and reproductions</a>
Format
The file format, physical medium, or dimensions of the resource
jpeg
Type
The nature or genre of the resource
Image
Identifier
An unambiguous reference to the resource within a given context
LC335P1
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation
Brick Walls
Brickwork
Bruton Parish Church
Bull's-Eye Windows
Church Architecture
Churches
Clock Towers
Clocks
Cruciform
Double-Hung Sash Windows
Duke of Gloucester Street
F.S. Lincoln
Hitching Posts
Lampposts
Oculus Windows
Round-headed Windows
Steeples
Tombstones
Towers
Virginia
Weather Vanes
Williamsburg
-
https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/1a8608f01ed08fc9b050d1f42cf2f5f1.jpg?Expires=1712793600&Signature=vOYXLMB7tWfddeJWtJ-c-Pd4z0EN6rqrHqA6qtgO2SkP5L%7E29D5qbGL1s3B1mnrob35tK1c7yTlRNvAU-26WTPysFxMbAORivZwoxRUX6Mps6VJ2e09Jlr8vlkA6Na6ktgMhRaFRorSEc1JclvRgmFLS-kaIb-k50WgGp%7E8EXW6UxP0FyS3nJeuLHHoteeb64gNaTREilnDaw9SlelLlX%7EeUn-HlzrfoSJChPtkWrbj8u5SPgXiXZH1ue4Bq9sIqY2mzHfNTnph1G8teRCfRpjNjcv8gmxi0fGBN64NjhZez9IBWzH2l%7EPwsKssXP7Nb%7EfcXacC6sXel5NEhYtmDlA__&Key-Pair-Id=K6UGZS9ZTDSZM
94dbadc87ce5f15e7c3d4e316f68a729
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
610
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
F.S. Lincoln Photography Collection
Description
An account of the resource
The FS Lincoln Collection
Biographical Sketch
Mr. Fay S. Lincoln (known professionally as F.S. Lincoln) operated a photography studio in New York City from the 1930s until the mid 1960s. He was born in Keene, New Hampshire in 1894 and attended the Massachusetts Institute of Technology. Although he received training as an engineer, Mr. Lincoln chose to become a professional photographer in 1929, when he opened the firm of Nyholm & Lincoln in conjunction with another photographer, Peter Nyholm, in New York City. A few years later, he opened his own studio at 114 East 32nd St.1
In 1932, Lincoln began corresponding with Kenneth Chorley, President of the Colonial Williamsburg Foundation, about the possibility of contracting with the Foundation to photograph the completed restoration work at Williamsburg. Lincoln had learned that John D. Rockefeller, Jr. was looking for someone to create a master collection of photos of Williamsburg through Arthur S. Vernay, an acquaintance of Abby Aldrich Rockefeller. In his correspondence, Lincoln noted he had completed photographic assignments for many of the top architects and designers in New York, including Arthur S. Vernay, Joseph Urban, James Gamble Rogers, Voorhees, Gmelin & Walker, McKim, Mead, & White, Robert Locher, and Eugene Schoen. He also pointed out that he had sold architectural photos to many prominent magazines, including "Architectural Record," "National Geographic," "Country Life," "Architectural Forum," and "Spur."2
Lincoln's credentials, along with sample photographs and recommendations from magazine editors, enabled him to secure a contract with Colonial Williamsburg on April 22, 1935. According to the terms of the contract, Lincoln was hired to prepare a master collection of photographs and negatives that Colonial Williamsburg could sell to tourists and residents of Williamsburg, as well as use for promotional purposes. Lincoln retained the right to sell copies of his photographs at his New York studio, provided he consulted with the Foundation regarding the proposed use of the photographs. He also retained title to all negatives and copyright for all photos until the termination of his business. Plans for a traveling exhibition of Lincoln's photographs of Williamsburg were also mentioned in the contract.3
During 1935, F.S. Lincoln traveled to Williamsburg at seasonal intervals to photograph views requested by the Foundation. A panel of Colonial Williamsburg employees reviewed each series of photos and selected a group to be added to the master collection. F.S. Lincoln photos illustrated two portfolios about Colonial Williamsburg published in the "Architectural Record" in December 1935 and November 1936. Full-page black and white photos of restored buildings and gardens accompanied articles on the restoration written by Kenneth Chorley, Fiske Kimball, William G. Perry, and Arthur Shurcliff. Thus, Lincoln's photos gave the American public their first introduction to the completed restoration.
Lincoln had also been hired by Colonial Williamsburg to create a group of photographs of Williamsburg that could be exhibited. Correspondence between staff members indicates that John D. Rockefeller, Jr. hoped to mount a traveling exhibit of Williamsburg photographs. An exhibit of a selection of Lincoln's views of Williamsburg, along with photos he took for "Harper's Bazaar," "House and Garden," "House Beautiful," "Vanity Fair," "National Geographic," and "Town and Country," was held at the Rabinovitch Gallery in New York City from October 4-17, 1935.
Although Foundation employees were satisfied with the quality of Lincoln's photographs, they were dismayed by the cost of individual prints and enlargements. Memos exchanged between members of the marketing staff indicate that employees were having a hard time convincing distributors to purchase enlargements of the Lincoln photos for display in shop windows. As a result, the Foundation's agreement with F.S. Lincoln was terminated on April 21, 1936.4
Despite this setback, F.S. Lincoln secured contracts for many other architectural photography projects in the 1930s. He received numerous commissions to photograph buildings in New York City and also traveled abroad on several assignments. In 1934, he completed a portfolio of photos of Mont St. Michel and in 1938 he toured the deep South and photographed examples of antebellum architecture. Lincoln's photos were widely published in the 1930s and 1940s in such magazines as "Architectural Record," "House Beautiful," "National Geographic," "Country Life," and "Architectural Forum." In addition, he published a book of his photographs in 1946 entitled "Charleston: Photographic Studies by F.S. Lincoln."5
F.S. Lincoln continued to operate a photography studio in New York City until 1965, when he retired and moved to Center Hall, Pennsylvania to live with his sister. He forwarded all of his negatives of Williamsburg buildings to the Foundation in 1972, along with a letter stating that “the copyright of the photographs has run out, so you are free to use them as desired.”6 Upon his death in 1976, the remainder of Lincoln's archive of prints and negatives, as well as some business papers, were donated to the Pennsylvania State University Archives.
Scope and Contents
The F.S. Lincoln collection consists of black and white negatives and prints taken by Mr. Lincoln in preparation for the publication of "The Restoration of Colonial Williamsburg in Virginia," a series of articles appearing in the December 1935 and November 1936 issues of "The Architectural Record." Both issues featured a portfolio of buildings and gardens in the newly restored historic area of Williamsburg.
In order to produce a large pool of photos for use in these portfolios, Mr. Lincoln created comprehensive visual documentation of the work completed during the initial phases of the restoration (1927-1935.) He photographed the exteriors and interiors of thirty restored buildings, including the exhibition buildings open to the public, such as the Governor's Palace, the Capitol, Raleigh Tavern, Bruton Parish Church, the Wren Building, and the Powder Magazine. In addition, he captured exterior views of some of the shops open on Merchant's Square and restored buildings adapted for public use, such as the Public Library. He also photographed many of the gardens and garden ornaments throughout the restored area.
The collection is organized into series by format. Series included in the collection are negatives; bound matted and signed prints; unbound matted and signed prints; and small albums. Within each format, items are organized according to the numbering system assigned by Mr. Lincoln. The first three digits of numbers assigned to the images correspond to a particular building or subject category. For example, all images of the Capitol have numbers beginning with 325 and all miscellaneous views have numbers beginning with 365. After these first three digits, Lincoln added a P for print and then a successive number for each view. For example, the first view of the Capitol is number 325P1. An “LC” prefix has been added to all image numbers by the Colonial Williamsburg Foundation to identify the images as coming from the Lincoln Collection.
Endnotes
1 Champagne, Anne, “Fay S. Lincoln Collection,” History of Photography 17, (Spring 1993): 127-128.
2 F.S. Lincoln to B.W. Norton, October 18, 1933. Colonial Williamsburg Foundation Archives.
3 Agreement dated April 22, 1935 between Colonial Williamsburg, Inc. and F.S. Lincoln, Colonial Williamsburg Foundation Archives.
4 Mr. Norton to Mr. Darling, February 22, 1937; Kenneth Chorley to F.S. Lincoln, April 6, 1937, Colonial Williamsburg Foundation Archives.
5 Champagne, Anne, “Fay S. Lincoln Collection,” History of Photography 17 (Spring 1993): 128.
6 F.S. Lincoln to James R. Short, May 15, 1972, Colonial Williamsburg Foundation Archives.
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
Gelatin or collodian printing out paper with platinum toning, mounted on board
Physical Dimensions
The actual physical size of the original image.
8x10 inches
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Nicholas-Tyler Office
Subject
The topic of the resource
Block 04. Building 07.
Public Library (Williamsburg, Va.)
Historic buildings -- Virginia -- Williamsburg
Public buildings -- Virginia -- Williamsburg
Description
An account of the resource
Exterior of the Nicholas-Tyler Office as viewed from Duke of Gloucester Street, 1935. The north and west facades of the Nicholas-Tyler Office illustrate both the varied use of buildings in Williamsburg's Historic Area, as well as modifications that are undertaken when research identifies incorrectly interpreted features. Used as the town's public library when first reconstructed in brick, the office was later proven to have been a weatherboard-clad building as it is seen today. It now serves as a guest residence facility.
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
LC367P2
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation
Brick Walls
Brickwork
Bruton Parish Church
Chimneys
Dormer Windows
Dormers
Duke of Gloucester Street
Exteriors
F.S. Lincoln
Flemish Bond
Historic Buildings
Lampposts
Nicholas-Tyler Office
Public Buildings
Public Library
Signboards
Signs
Virginia
Williamsburg
-
https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/9a097b1c224bccc0943b26e543dd74f5.jpg?Expires=1712793600&Signature=forpzqbQTC60vqSmpHhKl2MoCOq-zZYXcJHtnjesu-q2lLNvqxD%7EK92vTzJFT-pegm9ZmkfISTCsj03pH0ZZBjI3Css1qUi5i0XyYPrAKFy11F%7Es0Ce6oHykUeDa-L8VszlrruM61tAamxnv8CiaAuftoIZcY8ACzp8EeGE%7EV49aXBDpAppeMg-D8IB%7EMgkoEsE2DLv0xaTowg4VGVj86cVNsGllcwZgbZ6RZoBUNws2L243Bd66m5FgTsDXS0%7EVuZZzjPk4f5e1LYoAYt-7jBRUlWDW8aG4dYzIm2XhfpvY2gaIhyNR3fHU%7ETK09prrfZQ-a894C3T%7EM4oK3-T5RA__&Key-Pair-Id=K6UGZS9ZTDSZM
cc0d8d308d749cb66d083d3d663ad432
Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
Bit Depth
8
Channels
3
Height
768
Width
969
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
F.S. Lincoln Photography Collection
Description
An account of the resource
The FS Lincoln Collection
Biographical Sketch
Mr. Fay S. Lincoln (known professionally as F.S. Lincoln) operated a photography studio in New York City from the 1930s until the mid 1960s. He was born in Keene, New Hampshire in 1894 and attended the Massachusetts Institute of Technology. Although he received training as an engineer, Mr. Lincoln chose to become a professional photographer in 1929, when he opened the firm of Nyholm & Lincoln in conjunction with another photographer, Peter Nyholm, in New York City. A few years later, he opened his own studio at 114 East 32nd St.1
In 1932, Lincoln began corresponding with Kenneth Chorley, President of the Colonial Williamsburg Foundation, about the possibility of contracting with the Foundation to photograph the completed restoration work at Williamsburg. Lincoln had learned that John D. Rockefeller, Jr. was looking for someone to create a master collection of photos of Williamsburg through Arthur S. Vernay, an acquaintance of Abby Aldrich Rockefeller. In his correspondence, Lincoln noted he had completed photographic assignments for many of the top architects and designers in New York, including Arthur S. Vernay, Joseph Urban, James Gamble Rogers, Voorhees, Gmelin & Walker, McKim, Mead, & White, Robert Locher, and Eugene Schoen. He also pointed out that he had sold architectural photos to many prominent magazines, including "Architectural Record," "National Geographic," "Country Life," "Architectural Forum," and "Spur."2
Lincoln's credentials, along with sample photographs and recommendations from magazine editors, enabled him to secure a contract with Colonial Williamsburg on April 22, 1935. According to the terms of the contract, Lincoln was hired to prepare a master collection of photographs and negatives that Colonial Williamsburg could sell to tourists and residents of Williamsburg, as well as use for promotional purposes. Lincoln retained the right to sell copies of his photographs at his New York studio, provided he consulted with the Foundation regarding the proposed use of the photographs. He also retained title to all negatives and copyright for all photos until the termination of his business. Plans for a traveling exhibition of Lincoln's photographs of Williamsburg were also mentioned in the contract.3
During 1935, F.S. Lincoln traveled to Williamsburg at seasonal intervals to photograph views requested by the Foundation. A panel of Colonial Williamsburg employees reviewed each series of photos and selected a group to be added to the master collection. F.S. Lincoln photos illustrated two portfolios about Colonial Williamsburg published in the "Architectural Record" in December 1935 and November 1936. Full-page black and white photos of restored buildings and gardens accompanied articles on the restoration written by Kenneth Chorley, Fiske Kimball, William G. Perry, and Arthur Shurcliff. Thus, Lincoln's photos gave the American public their first introduction to the completed restoration.
Lincoln had also been hired by Colonial Williamsburg to create a group of photographs of Williamsburg that could be exhibited. Correspondence between staff members indicates that John D. Rockefeller, Jr. hoped to mount a traveling exhibit of Williamsburg photographs. An exhibit of a selection of Lincoln's views of Williamsburg, along with photos he took for "Harper's Bazaar," "House and Garden," "House Beautiful," "Vanity Fair," "National Geographic," and "Town and Country," was held at the Rabinovitch Gallery in New York City from October 4-17, 1935.
Although Foundation employees were satisfied with the quality of Lincoln's photographs, they were dismayed by the cost of individual prints and enlargements. Memos exchanged between members of the marketing staff indicate that employees were having a hard time convincing distributors to purchase enlargements of the Lincoln photos for display in shop windows. As a result, the Foundation's agreement with F.S. Lincoln was terminated on April 21, 1936.4
Despite this setback, F.S. Lincoln secured contracts for many other architectural photography projects in the 1930s. He received numerous commissions to photograph buildings in New York City and also traveled abroad on several assignments. In 1934, he completed a portfolio of photos of Mont St. Michel and in 1938 he toured the deep South and photographed examples of antebellum architecture. Lincoln's photos were widely published in the 1930s and 1940s in such magazines as "Architectural Record," "House Beautiful," "National Geographic," "Country Life," and "Architectural Forum." In addition, he published a book of his photographs in 1946 entitled "Charleston: Photographic Studies by F.S. Lincoln."5
F.S. Lincoln continued to operate a photography studio in New York City until 1965, when he retired and moved to Center Hall, Pennsylvania to live with his sister. He forwarded all of his negatives of Williamsburg buildings to the Foundation in 1972, along with a letter stating that “the copyright of the photographs has run out, so you are free to use them as desired.”6 Upon his death in 1976, the remainder of Lincoln's archive of prints and negatives, as well as some business papers, were donated to the Pennsylvania State University Archives.
Scope and Contents
The F.S. Lincoln collection consists of black and white negatives and prints taken by Mr. Lincoln in preparation for the publication of "The Restoration of Colonial Williamsburg in Virginia," a series of articles appearing in the December 1935 and November 1936 issues of "The Architectural Record." Both issues featured a portfolio of buildings and gardens in the newly restored historic area of Williamsburg.
In order to produce a large pool of photos for use in these portfolios, Mr. Lincoln created comprehensive visual documentation of the work completed during the initial phases of the restoration (1927-1935.) He photographed the exteriors and interiors of thirty restored buildings, including the exhibition buildings open to the public, such as the Governor's Palace, the Capitol, Raleigh Tavern, Bruton Parish Church, the Wren Building, and the Powder Magazine. In addition, he captured exterior views of some of the shops open on Merchant's Square and restored buildings adapted for public use, such as the Public Library. He also photographed many of the gardens and garden ornaments throughout the restored area.
The collection is organized into series by format. Series included in the collection are negatives; bound matted and signed prints; unbound matted and signed prints; and small albums. Within each format, items are organized according to the numbering system assigned by Mr. Lincoln. The first three digits of numbers assigned to the images correspond to a particular building or subject category. For example, all images of the Capitol have numbers beginning with 325 and all miscellaneous views have numbers beginning with 365. After these first three digits, Lincoln added a P for print and then a successive number for each view. For example, the first view of the Capitol is number 325P1. An “LC” prefix has been added to all image numbers by the Colonial Williamsburg Foundation to identify the images as coming from the Lincoln Collection.
Endnotes
1 Champagne, Anne, “Fay S. Lincoln Collection,” History of Photography 17, (Spring 1993): 127-128.
2 F.S. Lincoln to B.W. Norton, October 18, 1933. Colonial Williamsburg Foundation Archives.
3 Agreement dated April 22, 1935 between Colonial Williamsburg, Inc. and F.S. Lincoln, Colonial Williamsburg Foundation Archives.
4 Mr. Norton to Mr. Darling, February 22, 1937; Kenneth Chorley to F.S. Lincoln, April 6, 1937, Colonial Williamsburg Foundation Archives.
5 Champagne, Anne, “Fay S. Lincoln Collection,” History of Photography 17 (Spring 1993): 128.
6 F.S. Lincoln to James R. Short, May 15, 1972, Colonial Williamsburg Foundation Archives.
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
Gelatin or collodian printing out paper with platinum toning, mounted on board
Physical Dimensions
The actual physical size of the original image.
8x10 inches
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
View of Bruton Parish Church Across Palace Green
Subject
The topic of the resource
Bruton Parish Church (Williamsburg, Va.)
Historic buildings -- Virginia -- Williamsburg
Public buildings -- Virginia -- Williamsburg
Description
An account of the resource
View of Bruton Parish Church across Palace Green, from the corner of Nicholson Street and Palace Street, 1935.
A smaller seventeenth-century structure stood on the site from 1683 until 1715, when the larger and more elaborate cruciform-style church replaced it. Located at the edge of Palace Green on the corner of Duke of Gloucester Street and Palace Street, the church was originally designed by colonial Governor Alexander Spotswood. Bruton Parish continues to serve an active Episcopal congregation and has functioned as a site of worship for the community since the parish was first founded in 1674.
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
LC365P9
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation
Bruton Parish Church
Catalpa Trees
Catawba Trees
Exteriors
F.S. Lincoln
Fences
Historic Buildings
Hitching Posts
Nicholson Street
Palace Green
Palace Street
Public Buildings
Steeples
Virginia
Williamsburg
-
https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/90e773da1caf2e38e111562c5608ff77.jpg?Expires=1712793600&Signature=n233FB-IroCXrWxhKuZTAWWd1G0VeaYQ27M25W4w4CtmkFolBWdEf2eHIfuHYfjtDAg8spT67hlVCEqH1SHt8VXZL06K0syxNSJU%7ErY7G0xXFBV%7Eqc7QDT0FEaihh8bKx0YqXF6DeL8-EMSLAEY4whKcRiFnVzN3yLMtSLrh%7EA-uqzfWtG%7EaRE8TWX-gcSSZiZOr93o0y30iACImVuL6iD4ZIurZphdc-nuXROrpUMrlxN1GGLofya3vIRg3sG%7ENDJGq%7EFJzFJOg4WOCr5RavtIF%7EXTinDhzHLF9B9K-CKqbfSODEYutIX8vIi6%7EG2rZzgigemPCiA02siO-IEi7Rw__&Key-Pair-Id=K6UGZS9ZTDSZM
bda0a699d05153927def2dd98bc4ae4d
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
610
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
F.S. Lincoln Photography Collection
Description
An account of the resource
The FS Lincoln Collection
Biographical Sketch
Mr. Fay S. Lincoln (known professionally as F.S. Lincoln) operated a photography studio in New York City from the 1930s until the mid 1960s. He was born in Keene, New Hampshire in 1894 and attended the Massachusetts Institute of Technology. Although he received training as an engineer, Mr. Lincoln chose to become a professional photographer in 1929, when he opened the firm of Nyholm & Lincoln in conjunction with another photographer, Peter Nyholm, in New York City. A few years later, he opened his own studio at 114 East 32nd St.1
In 1932, Lincoln began corresponding with Kenneth Chorley, President of the Colonial Williamsburg Foundation, about the possibility of contracting with the Foundation to photograph the completed restoration work at Williamsburg. Lincoln had learned that John D. Rockefeller, Jr. was looking for someone to create a master collection of photos of Williamsburg through Arthur S. Vernay, an acquaintance of Abby Aldrich Rockefeller. In his correspondence, Lincoln noted he had completed photographic assignments for many of the top architects and designers in New York, including Arthur S. Vernay, Joseph Urban, James Gamble Rogers, Voorhees, Gmelin & Walker, McKim, Mead, & White, Robert Locher, and Eugene Schoen. He also pointed out that he had sold architectural photos to many prominent magazines, including "Architectural Record," "National Geographic," "Country Life," "Architectural Forum," and "Spur."2
Lincoln's credentials, along with sample photographs and recommendations from magazine editors, enabled him to secure a contract with Colonial Williamsburg on April 22, 1935. According to the terms of the contract, Lincoln was hired to prepare a master collection of photographs and negatives that Colonial Williamsburg could sell to tourists and residents of Williamsburg, as well as use for promotional purposes. Lincoln retained the right to sell copies of his photographs at his New York studio, provided he consulted with the Foundation regarding the proposed use of the photographs. He also retained title to all negatives and copyright for all photos until the termination of his business. Plans for a traveling exhibition of Lincoln's photographs of Williamsburg were also mentioned in the contract.3
During 1935, F.S. Lincoln traveled to Williamsburg at seasonal intervals to photograph views requested by the Foundation. A panel of Colonial Williamsburg employees reviewed each series of photos and selected a group to be added to the master collection. F.S. Lincoln photos illustrated two portfolios about Colonial Williamsburg published in the "Architectural Record" in December 1935 and November 1936. Full-page black and white photos of restored buildings and gardens accompanied articles on the restoration written by Kenneth Chorley, Fiske Kimball, William G. Perry, and Arthur Shurcliff. Thus, Lincoln's photos gave the American public their first introduction to the completed restoration.
Lincoln had also been hired by Colonial Williamsburg to create a group of photographs of Williamsburg that could be exhibited. Correspondence between staff members indicates that John D. Rockefeller, Jr. hoped to mount a traveling exhibit of Williamsburg photographs. An exhibit of a selection of Lincoln's views of Williamsburg, along with photos he took for "Harper's Bazaar," "House and Garden," "House Beautiful," "Vanity Fair," "National Geographic," and "Town and Country," was held at the Rabinovitch Gallery in New York City from October 4-17, 1935.
Although Foundation employees were satisfied with the quality of Lincoln's photographs, they were dismayed by the cost of individual prints and enlargements. Memos exchanged between members of the marketing staff indicate that employees were having a hard time convincing distributors to purchase enlargements of the Lincoln photos for display in shop windows. As a result, the Foundation's agreement with F.S. Lincoln was terminated on April 21, 1936.4
Despite this setback, F.S. Lincoln secured contracts for many other architectural photography projects in the 1930s. He received numerous commissions to photograph buildings in New York City and also traveled abroad on several assignments. In 1934, he completed a portfolio of photos of Mont St. Michel and in 1938 he toured the deep South and photographed examples of antebellum architecture. Lincoln's photos were widely published in the 1930s and 1940s in such magazines as "Architectural Record," "House Beautiful," "National Geographic," "Country Life," and "Architectural Forum." In addition, he published a book of his photographs in 1946 entitled "Charleston: Photographic Studies by F.S. Lincoln."5
F.S. Lincoln continued to operate a photography studio in New York City until 1965, when he retired and moved to Center Hall, Pennsylvania to live with his sister. He forwarded all of his negatives of Williamsburg buildings to the Foundation in 1972, along with a letter stating that “the copyright of the photographs has run out, so you are free to use them as desired.”6 Upon his death in 1976, the remainder of Lincoln's archive of prints and negatives, as well as some business papers, were donated to the Pennsylvania State University Archives.
Scope and Contents
The F.S. Lincoln collection consists of black and white negatives and prints taken by Mr. Lincoln in preparation for the publication of "The Restoration of Colonial Williamsburg in Virginia," a series of articles appearing in the December 1935 and November 1936 issues of "The Architectural Record." Both issues featured a portfolio of buildings and gardens in the newly restored historic area of Williamsburg.
In order to produce a large pool of photos for use in these portfolios, Mr. Lincoln created comprehensive visual documentation of the work completed during the initial phases of the restoration (1927-1935.) He photographed the exteriors and interiors of thirty restored buildings, including the exhibition buildings open to the public, such as the Governor's Palace, the Capitol, Raleigh Tavern, Bruton Parish Church, the Wren Building, and the Powder Magazine. In addition, he captured exterior views of some of the shops open on Merchant's Square and restored buildings adapted for public use, such as the Public Library. He also photographed many of the gardens and garden ornaments throughout the restored area.
The collection is organized into series by format. Series included in the collection are negatives; bound matted and signed prints; unbound matted and signed prints; and small albums. Within each format, items are organized according to the numbering system assigned by Mr. Lincoln. The first three digits of numbers assigned to the images correspond to a particular building or subject category. For example, all images of the Capitol have numbers beginning with 325 and all miscellaneous views have numbers beginning with 365. After these first three digits, Lincoln added a P for print and then a successive number for each view. For example, the first view of the Capitol is number 325P1. An “LC” prefix has been added to all image numbers by the Colonial Williamsburg Foundation to identify the images as coming from the Lincoln Collection.
Endnotes
1 Champagne, Anne, “Fay S. Lincoln Collection,” History of Photography 17, (Spring 1993): 127-128.
2 F.S. Lincoln to B.W. Norton, October 18, 1933. Colonial Williamsburg Foundation Archives.
3 Agreement dated April 22, 1935 between Colonial Williamsburg, Inc. and F.S. Lincoln, Colonial Williamsburg Foundation Archives.
4 Mr. Norton to Mr. Darling, February 22, 1937; Kenneth Chorley to F.S. Lincoln, April 6, 1937, Colonial Williamsburg Foundation Archives.
5 Champagne, Anne, “Fay S. Lincoln Collection,” History of Photography 17 (Spring 1993): 128.
6 F.S. Lincoln to James R. Short, May 15, 1972, Colonial Williamsburg Foundation Archives.
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
Gelatin or collodian printing out paper with platinum toning, mounted on board
Physical Dimensions
The actual physical size of the original image.
8x10 inches
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
View of Bruton Parish Church From Palace Green
Subject
The topic of the resource
Bruton Parish Church (Williamsburg, Va.)
Historic buildings -- Virginia -- Williamsburg
Public buildings -- Virginia -- Williamsburg
Block 29. Building 02.
Description
An account of the resource
View across Palace Green of Bruton Parish Church, as seen from behind the front yard fence of the St. George Tucker House (on the corner of Nicholson Street and Palace Street), 1935.
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
LC365P8
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation
Bruton Parish Church
Catalpa Trees
Catawba Trees
Exteriors
F.S. Lincoln
Fences
Historic Buildings
Nicholson Street
Palace Green
Palace Street
Public Buildings
St. George Tucker House
Steeples
Virginia
Williamsburg
-
https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/8566dce297158cfb210ddcf69f28dcb9.jpg?Expires=1712793600&Signature=SoZbHW4rr9fTCVsW3A-CR5KgG0AGIpBCbK2KxEaUh8hfbvG0duHwN6tf9%7ElNo65Tu8hB-bkN41eTXAa6QXIJthXT2gI0Le3tJ0mY%7Egv-g8ZbuZT9rTOlB7t-v6TxsgGRJnykzAovptE4lDLmZ7bOMy8MB74iIT6doRagsC4qH5N3yQ0vDIKKkJJOtRBcycjgRIsnhpORnOTxNp1I6sU7W9UZD-xxwp16beDNmSQRJ8PS3f5lb1XuhDg79HgFwIo-dqwRBtVwV2oDvgqrjXycM1CxpGIwbzGQkZdYYiOrzPzQLmyYo0jt3RrIURzLTPA3KXlAcF41CeTnbGNOOWlfNQ__&Key-Pair-Id=K6UGZS9ZTDSZM
09ae657ea2ac1484aaff64e11f478001
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
693
Width
1024
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
An Architect of the Restoration: The Pencil Sketches of Thomas Mott Shaw, F.A.I.A.
Description
An account of the resource
BIOGRAPHY OF THOMAS MOTT SHAW, F.A.I.A.
Thomas Mott Shaw is best known as one of the founding partners and principal architects of the prominent Boston architectural firm Perry, Shaw, and Hepburn, which John D. Rockefeller Jr. hired in 1928 to design, plan, and supervise the groundbreaking historical restoration of Williamsburg, the former eighteenth-century capitol of Virginia.
Born in 1878 in Newport, Rhode Island, Thomas Mott Shaw received a bachelor’s degree from Harvard in 1900 and continued his education at the atelier (workshop) of Jean-Louis Pascal at the Ècole des Beaux-Arts in Paris from 1900 to 1905.[1] After graduation in 1905, he began working in Boston as a draftsman in the office of Guy Lowell, a prominent American architect and landscape architect who designed the Boston Museum of Fine Arts, as well as numerous other public, commercial, academic, and private buildings and spaces, including many distinguished estates and gardens.[2] Shaw’s connections to Lowell were presumably academic in nature, as Lowell was a former Harvard alumnus who also studied under Pascal at the Ècole, where he graduated just one year before Shaw.[3] In 1908, Shaw left Lowell’s employ and opened his own architectural practice, which he pursued until 1916.[4] During the First World War, he served as a first lieutenant in the 489th Aero Squadron of the American Expeditionary Forces (AEF).[5] He was stationed at the U.S. Army’s Air Service Production center at Romorantin, France, where he worked with the Air Service Construction Division #2. During this time, he helped design and build air fields, assembly plants for the fabrication of American aircraft, and barracks for military personnel.[6]
After the war, Shaw returned to the United States and partnered with Andrew H. Hepburn, an MIT graduate and practicing architect who had also worked under Guy Lowell.[7] The two men founded an architectural firm under the name of Shaw and Hepburn, which they managed together from 1918 to 1923.[8] When architect William G. Perry (another alumnus of Harvard, MIT, and the Ècole, as well as a former WWI Army Air Corps captain[9]) joined the partnership in 1923, the firm’s name changed to Perry, Shaw, and Hepburn.[10]
In January 1927, William Perry (representing his partners Shaw and Hepburn) was invited by Reverend William A. R. Goodwin (the rector of Bruton Parish Church in Williamsburg) to produce drawings of Williamsburg as it may have looked in the eighteenth century.[11] Goodwin planned to submit the renderings to an unnamed donor who was interested in restoring the town to its former eighteenth-century appearance.[12] Shaw noted: “I worked on those drawings. We all did. We all worked on them (just like a projet in the Ècole des Beaux-Arts) to get them out.” [13] In late November 1927, after spending eleven months working pro bono[14] on a series of illustrations detailing the prospective restoration of the town and the College of William and Mary’s Wren Building, Perry submitted the firm’s drawings to Reverend Goodwin to deliver to his anonymous benefactor for consideration.[15] Soon after reviewing the architects’ work, Goodwin’s patron decided to begin funding the restoration of Williamsburg, and by early December 1927, the firm of Perry, Shaw, and Hepburn was approved “'to proceed with work on [the] Wren Building’ and reconstruction of the colonial Capitol and Governor’s Palace.”[16] It was not until April 1928, however, that the architects finally learned the identity of the secretive individual funding the endeavor.[17] The three men were summoned to New York for a meeting, where Goodwin introduced them to the wealthy businessman and philanthropist, John D. Rockefeller Jr.[18] After meeting the architects in person and discussing the project with them over lunch, Rockefeller decided that he liked what he had seen and heard. On 1 April 1928,[19] he “assigned overall ‘authority and responsibility’” of Williamsburg’s building and restoration to Perry, Shaw, and Hepburn.[20] Soon thereafter, the architects set up a small office in Williamsburg near Bruton Parish Church to manage the project.[21]
The architects “soon found that drawing plans was only a minor part of the [project]. The hard part was finding out what kind of plans should be drawn.”[22] Consequently, they organized a staff of historical researchers to assist them in their efforts to restore and rebuild Williamsburg’s eighteenth-century structures as authentically as possible. “Very early in the project, [the architects] decided to establish the highest possible standards for the job. ‘Nothing was ever done without a good reason,’ Shaw once stated. ‘If there were no documented reasons for doing a particular thing, we didn’t do it.’”[23]
Perry, Shaw, and Hepburn’s dedication to the ideals of historic preservation at Williamsburg also paralleled a larger “preservation fever” that was sweeping the nation in the 1920s, called the Colonial Revival.[24] “Historic preservation formed the core of the Colonial Revival, a social and stylistic mindset that peaked during the 1920s [25]…fueled by the usual turmoil – a world war, the Bolshevik Revolution, the Red Scare, and another spike in immigration, all of which increased the nostalgia for the good old colonial days.[26] ….Creating museums from historic buildings became a preferred philanthropy for the wealthy…and John D. Rockefeller Jr. launched the single largest preservation project the country had seen: Colonial Williamsburg.” [27]
In the wake of the stock market crash of 1929 and the subsequent national economic collapse of the Great Depression, the fervor of the movement waned, as “only the wealthiest could afford to indulge in antiques, art, and architectural restoration.”[28] As one of the wealthiest men in the country, however, John D. Rockefeller Jr. was one of the few people who could indeed afford to finance his interests in the Colonial Revival. Despite the economic strife of the times, Rockefeller’s infusion of funds into Williamsburg not only helped support the research and restoration of this sleepy southern town back to its former eighteenth-century appearance as the colonial capitol of Virginia, but also provided Williamsburg with much-needed jobs during the worst years of the Depression. By the late 1930s, Rockefeller’s restoration had positioned the town as an architectural and cultural cornerstone of the Colonial Revival movement, fueled Colonial Revival sentiments in spite of the nation’s social and economic woes, and established Williamsburg as a pioneering example of historical preservation relating to the nation’s colonial and revolutionary past.
In time, Thomas Mott Shaw was eventually “placed on [a] consulting basis” with Williamsburg’s Restoration “when an architectural department was established by Colonial Williamsburg” on 1 October 1934.[29] In 1938, Shaw was recognized by the American Institute of Architects for his work on the Williamsburg Inn, “chosen for its excellency of design wedded to the sensitive appreciation of location.”[30] He was awarded the Institute’s Bronze Medal of Honor, the highest award given to a practicing architect in the country.[31] In 1939, Shaw was placed on an annual retainer with the Restoration, though he continued working as a consultant for Colonial Williamsburg on various design and restoration projects.
After a long and accomplished career, Thomas Mott Shaw died on 17 February 1965.[32]
THE THOMAS MOTT SHAW COLLECTION
This collection consists of thirty-four graphite and mixed media sketches drawn by architect Thomas Mott Shaw during the restoration of Colonial Williamsburg from the late 1920s through 1930s, depicting various architectural exteriors and interiors of historic buildings in and around Colonial Williamsburg’s Historic Area. It is not known precisely why these drawings were created – whether for in-house or external purposes by Perry, Shaw, and Hepburn, for Colonial Williamsburg’s staff or other interested parties, or perhaps even for Shaw’s own personal use – but they have since become historically important artifacts and images of Williamsburg’s Restoration period. These illustrations take us back in time to the early days of Williamsburg as a reconstructed historic site and living history museum, capturing views that offer interesting opportunities for insight and reflection into the early research, planning, design, building, and restoration of the town’s landscape, architecture, and character as Virginia’s eighteenth-century colonial capitol.
The earliest sketch in this collection, drawn in 1928, features the Bracken Tenement (also known as the Bracken House) on Francis Street, which was one of the first buildings to be restored in Williamsburg by Perry, Shaw, and Hepburn[33] in 1928.[34] The latest sketch, drawn in 1938, depicts a proposed addition to the Williamsburg Inn which was never built. Otherwise, the majority of the drawings – thirty-two in number – were completed in 1933.
In the fall of 1944, Shaw offered this collection of thirty-four sketches to the Colonial Williamsburg Foundation “for use in connection with publicity or any other purpose you would like to use them for.”[35] Upon review of the sketches, Colonial Williamsburg’s staff accepted them, stating: “These sketches are something which we definitely should have in our archives….Mr. Shaw has done them from photographs and that in this respect they are not such creative work as might be done on location without the use of photographs….We have not undertaken to determine how best they can be utilized but there are several possibilities which we should like to explore further.”[36]
Though the sketches were thought to be “very good” and might be used in various ways,[37] Colonial Williamsburg’s staff chiefly appreciated the drawings for their “sentimental appeal by virtue of Mr. Shaw’s connection with Colonial Williamsburg”[38] and “the fact that they are the handiwork of Mr. Shaw, which…will make them quite valuable to Colonial Williamsburg in the future.”[39]
Shaw’s sketches were purchased and accepted into the research archives of Colonial Williamsburg’s Architectural Department between November 1945 and January 1946. These drawings are now part of the Architectural Drawings Collection in the Special Collections wing of the Colonial Williamsburg Foundation’s John D. Rockefeller Jr. Library. While a separate collection of Shaw’s personal papers and drawings also reside within the Smithsonian Institution’s Archives of American Art in Washington, D.C.,[40] the Colonial Williamsburg Foundation is proud to possess the majority of Mr. Shaw’s drawings and correspondence associated with his meticulous and pioneering work on Williamsburg’s restoration.
ENDNOTES
[1] George H. Yetter, “Thomas Mott Shaw, F.A.I.A., 1878-1965” unpublished biography, Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation (Williamsburg, Va.: The Colonial Williamsburg Foundation).
[2] Ibid.
[3] Henry F. Withey and Elsie Rathburn Withey, Biographical Dictionary of American Architects [Deceased] (Los Angeles: Hennessey & Ingalls, Inc., 1970), 381-382.
[4] Yetter, “Thomas Mott Shaw, F.A.I.A., 1878-1965.”
[5] George H. Yetter, handwritten notes compiled from Thomas Mott Shaw Papers (in Archives of American Art, Smithsonian Institution, gift of Sarah Quinan Shaw Johnson, Concord, Ma., 1975), Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation (Williamsburg, Va.: The Colonial Williamsburg Foundation).
[6] Ibid.; see also “Colonial Williamsburg Logbook” biographical sheet on Thomas Mott Shaw, dated 15 March 1947, Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation (Williamsburg, Va.: The Colonial Williamsburg Foundation).
[7] George H. Yetter, “Designers of Beauty: Academic Training and Williamsburg’s Architectural Restoration,” Colonial Williamsburg Journal (Winter 2012): 58.
[8] Yetter, handwritten notes compiled from Thomas Mott Shaw Papers; see also “Colonial Williamsburg Logbook” biographical sheet.
[9] Will Molineux, “The Architect of Colonial Williamsburg: William Graves Perry,” Colonial Williamsburg Journal (Autumn 2004), 61.
[10] “Colonial Williamsburg Logbook” biographical sheet.
[11] Fred Frechette, “Work on Restoration Started as ‘Bit of Fun,’” Richmond Times-Dispatch (Richmond, Va.), 21 May 1956, page number unknown, Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation.
[12] Yetter, “Thomas Mott Shaw, F.A.I.A., 1878-1965.”
[13] Ibid. (T.M. Shaw quote excerpted from “Reminiscences of Thomas Mott Shaw,” Colonial Williamsburg Foundation Archives, Oral History Collection, 11), Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation (Williamsburg, Va.: The Colonial Williamsburg Foundation).
[14] Frechette, “Work on Restoration Started as ‘Bit of Fun.’”
[15] George H. Yetter, “Thomas Mott Shaw” typewritten research notes, Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation (Williamsburg, Va.: The Colonial Williamsburg Foundation).
[16] Molineux, “The Architect of Colonial Williamsburg,” 63.
[17] Ibid.
[18] Ibid.
[19] Yetter, “Thomas Mott Shaw” typewritten research notes.
[20] Molineux, 63; see also Frechette, “Work on Restoration Started as ‘Bit of Fun.’”
[21] Molineux, 63.
[22] Frechette, “Work on Restoration Started as ‘Bit of Fun.’”
[23] Ibid.
[24] Mary Miley Theobald, “The Colonial Revival: The Past that Never Dies,” Colonial Williamsburg Journal (Summer 2002), 81.
[25] Ibid., 81.
[26] Ibid., 84.
[27] Ibid., 81.
[28] Ibid., 84.
[29] Yetter, “Thomas Mott Shaw” typewritten research notes.
[30] Frechette, “Work on Restoration Started as ‘Bit of Fun.’”
[31] Ibid.
[32] Yetter, “Thomas Mott Shaw, F.A.I.A., 1878-1965.”
[33] Frechette, “Work on Restoration Started as ‘Bit of Fun.’”
[34]Carl Lounsbury, “Bracken Tenement: Block 2, Building 52,” Colonial Williamsburg Foundation website, n.d., http://research.history.org/Architectural_Research/Research_Articles/ThemeBldgs/Bracken.cfm (accessed 5 May 2014).
[35] Letter from Thomas Mott Shaw to Vernon Geddy of Williamsburg Restoration, Inc., 25 October 1944, Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation.
[36] Staff memo from B.W. Norton to Vernon Geddy of Williamsburg Restoration, Inc., 1 November 1945, Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation.
[37] Staff memo from J.A. Upshur to Kenneth Chorley of Williamsburg Restoration, Inc., 12 January 1946, Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation.
[38] Ibid.
[39] Ibid.
[40] Letter from Michael A. Grimes (archivist, Smithsonian Institution, Archives of American Art) to George H. Yetter (Associate Curator of Architectural Drawings, Colonial Williamsburg Foundation), 2 August 1989, Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation.
SUGGESTIONS FOR FURTHER READING
Chappell, Edward A. “Architects of Colonial Williamsburg” in Encyclopedia of Southern Culture, ed. by Charles
Reagan Wilson, William R. Ferris, and Ann J. Adadie. Chapel Hill: University of North Carolina Press, 1989, 59-61.
Greenspan, Anders. Creating Colonial Williamsburg: The Restoration of Virginia’s Eighteenth-Century Capitol. Chapel Hill: The University of North Carolina Press, 2002.
Hosmer, Charles Bridgham, and National Trust for Historic Preservation in the United States. Preservation Comes of Age: From Williamsburg to the National Trust, 1926-1949, Vol. 1. Charlottesville: Published for the Preservation Press, National Trust for Historic Preservation in the United States by the University Press of Virginia, 1981.
Kimball, Fiske, et al. The Restoration of Colonial Williamsburg in Virginia. New York: F.W. Dodge
Corporation, 1935.
Molineux, Will. “The Architect of Colonial Williamsburg: William Graves Perry,” Colonial Williamsburg Journal (August 2004): 58-65.
Theobald, Mary Miley. “The Colonial Revival: The Past that Never Dies,” Colonial Williamsburg Journal (Summer 2002): 81-85.
Yetter, George Humphrey. “Designers of Beauty: Academic Training and Williamsburg’s Architectural Restoration,” Colonial Williamsburg Journal (Winter 2012): 54-60.
Yetter, George Humphrey. Williamsburg Before and After: The Rebirth of Virginia's Colonial Capital. Williamsburg, Va.: Colonial Williamsburg Foundation, 1988.
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
Graphite on paper
Physical Dimensions
The actual physical size of the original image.
43.5 x 29.5 cm
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
John Blair House
Subject
The topic of the resource
John Blair House (Williamsburg, Va.)
Block 22. Building 05.
Historic buildings - Virginia - Williamsburg
Architecture, Colonial - Virginia - Williamsburg
Architecture, Domestic - Virginia - Williamsburg
Description
An account of the resource
<p>Exterior of the John Blair House, viewed from Duke of Gloucester Street, 1933. "The John Blair House and Kitchen on the north side of Duke of Gloucester Street was the home of a prominent family of Virginians. The Reverend James Blair (1655-1743), founder and first president of the College of William and Mary, came to Virginia in 1685....The original, easterly part of the John Blair House was built early in the eighteenth century. It is one of the oldest houses in Williamsburg. Town tradition has it that the stone steps at both doors came from the Palace Street theater. The steps were added when the house was lengthened twenty-eight feet to the west sometime during the second quarter of the eighteenth century."</p>
<p>(Source: Michael Olmert and Suzanne Coffman, <em>Official Guide to Colonial Williamsburg</em> [Williamsburg, VA: The Colonial Williamsburg Foundation, 2007], 103-104).</p>
Creator
An entity primarily responsible for making the resource
Shaw, Thomas Mott
Date
A point or period of time associated with an event in the lifecycle of the resource
1933
Date Created
Date of creation of the resource.
1933
Rights
Information about rights held in and over the resource
This material is protected by copyright law (Title 17, U.S. Code). For reproduction queries: <a href="http://research.history.org/JDRLibrary/Visual_Resources/VisualResourcePermission.cfm">Rights and reproductions</a>
Format
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
D2008-COPY-1014-1003
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation
Bruton Parish Church
Chimneys
Colonial Architecture
Dormer Windows
Dormers
Duke of Gloucester Street
Exteriors
Fences
Historic Buildings
Hitching Posts
John Blair House
Lampposts
Shutters
Stairs
Steeples
Thomas Mott Shaw
Virginia
Weatherboarding
Williamsburg
-
https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/99e2a91fb77df4debf4db963c926485d.jpg?Expires=1712793600&Signature=L-nrN5N33Zbdz8jPrA6RIHTXc-EOEziG9cxW7j8fud3RrVS6C13G8hxw0bBWRtaVvGtI2XYK8FEM7W%7EcNUhXSFR-7-vXQ0h0X9%7ElmkJderO376%7EnEzJEQUHDeauIx6un2U8RksswAol9OzE2fQNhzNsCmk0c53yFSkeue7d2gwVnYUdTWLlAVFDIhAA-Wa3cfeBnPS2%7EUqwuSg8K-FoNWEAaMk42-IDI9RVDDrOeCUhG1pqZ6L9vKkQvnpOSXzMn0YYVlT6T7oB3HgJVOpdTMr8%7EZ0yOnpmSL1JV%7Ec3oqv9TOc9bdCwi9fU1NU5yM2imNuIekTQeMSCtqXPzefFErg__&Key-Pair-Id=K6UGZS9ZTDSZM
bbc7c955dbf10bec1c9f0ab8d17da3ab
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
746
IPTC Array
a:9:{s:7:"caption";s:282:"Sketch of Duke of Gloucester Street; Drawn by CW architect Singleton Peabody Moorehead in 1939; The Palace Green; Block 21; Bruton Parish Church; Wythe House and outbuildings; Block 30-2; Deane House; South Wall and Outbuildings; Carter Saunders House; North Wall and Outbuildings ";s:6:"credit";s:24:"Lombardi; Barbara Temple";s:6:"source";s:22:"Canon EOS 1Ds Mark III";s:11:"object_name";s:20:"D2010-COPY-0106-1030";s:12:"date_created";s:10:"06.01.2010";s:4:"city";s:12:"Williamsburg";s:5:"state";s:2:"VA";s:7:"country";s:3:"USA";s:16:"copyright_notice";s:41:"2009 The Colonial Williamsburg Foundation";}
IPTC String
caption:Sketch of Duke of Gloucester Street; Drawn by CW architect Singleton Peabody Moorehead in 1939; The Palace Green; Block 21; Bruton Parish Church; Wythe House and outbuildings; Block 30-2; Deane House; South Wall and Outbuildings; Carter Saunders House; North Wall and Outbuildings
credit:Lombardi; Barbara Temple
source:Canon EOS 1Ds Mark III
object_name:D2010-COPY-0106-1030
date_created:06.01.2010
city:Williamsburg
state:VA
country:USA
copyright_notice:2009 The Colonial Williamsburg Foundation
Width
3000
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
Singleton P. Moorehead Streetscapes
Description
An account of the resource
Singleton P. Moorehead (1900 – 1964), was born in Saranac, NY, attended Harvard (BA, 1922; M. Arch, 1927), and was employed in 1928 by the Boston architectural firm of Perry, Shaw and Hepburn. In the same year, he came to Williamsburg as a member of its' architectural field office responsible for the initial restoration work in the historic area. He married Cynthia Beverley Tucker Coleman, a descendant of colonial era Williamsburg resident St. George Tucker. Staying on, Moorehead joined the Colonial Williamsburg Foundation’s architectural office at its creation in 1934, became director of architecture from 1944 – 48, and continued as an architectural consultant until his death.
This collection of streetscapes was created by Moorehead for the use of John D. Rockefeller Jr. They were created at a reduced scale so Rockefeller might study recommendations comfortably in his limousine. By comparing the small-scale view with what he saw through car windows, he was able to decide whether to approve funding for the work. The colored dots denote four different kinds of properties. Blue indicates additional work to be done at properties already restored or reconstructed; red signified work proposed for properties owned by the restoration; black indicated work to be done at properties owned by the restoration but subject to life tenure and green indicated work to be performed at future acquisitions.
The nine streetscapes in this collection were executed by Moorehead to accompany a February 20, 1939 report entitled: Proposed Ultimate Restoration Work” written by A. Edwin Kendrew, Foundation Architect and head of Colonial Williamsburg’s architectural staff. About these illustrations, Moorehead wrote: “I made some renderings in water color and crayon … And I did elevations of all the streets that occurred in the area where restoration or reconstruction work was or was to be done. Those were mounted on stiff cardboard mats. I think in all there were about eighteen feet of them … Those were passed to Mr. Rockefeller, and he toured the town in his car. He would go up one side of the street and down the other and follow the schedule by circles of color … He didn’t have to stand around with the wind blowing huge blueprints and stuff. He just had these simple little renderings. (They were quite attractive, even if I do say so.) He bought the proposition, and then the fun really started.”
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
Colored pencil on paper
Physical Dimensions
The actual physical size of the original image.
13.3 x 56 cm.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Block 21 ; Block 30-2 : Palace Green
Subject
The topic of the resource
Block 21
Block 30-2
Bruton Parish Church (Williamsburg, Va.)
Elkanah Deane House (Williamsburg, Va.)
George Wythe House (Williamsburg, Va.)
Robert Carter House (Williamsburg, Va.)
Historic buildings -- Virginia -- Williamsburg
Description
An account of the resource
Looking west on Palace Green, this streetscape shows Bruton Parish Church, the George Wythe House and outbuildings, the Elkanah Deane House and the Carter Saunders House (now known as the Robert Carter House).
Creator
An entity primarily responsible for making the resource
Moorehead, Singleton P.
Publisher
An entity responsible for making the resource available
Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation
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>
Is Part Of
A related resource in which the described resource is physically or logically included.
Singleton P. Moorehead Streetscapes
Format
The file format, physical medium, or dimensions of the resource
jpeg
Language
A language of the resource
eng
Type
The nature or genre of the resource
Image
Identifier
An unambiguous reference to the resource within a given context
D2010-COPY-0106-1030.jpg
Bruton Parish Church
Elkanah Deane House
George Wythe House
Robert Carter House
-
https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/6ec38190fd3dce29e62467e6a37e4c2d.jpg?Expires=1712793600&Signature=qMUu1t7IAX0qf2CKDGcSANJcJBxwGYmxpsvO8IVuP4fZGvBzIl3ae6twuyUeWqOeO8sApZnuTwDghh8Ymxv0aHt59nNTdse8HS1Iy8qyW78KaT0kSO3d7mtb54rDtmrjeDeIhOLjAkFoKwFYhKiXJpbGihtAh-9H9NkBkkNmEPAnHBwZPbXKMxFyWy6EzVF2gjC5HGu4ew9bmUDt-JPe119ERaLRGAPe4R-A6STYyZO7oBWyYiFQo-tdqVOuApk%7EyMT-1EsxshcuhvaUIK-wLjDmLriHLfAghoRDbqme9sE3a7iRV4%7ED%7E0RtwXEAemFbxyw6iQ5jGZzQJjqm%7E8BcCQ__&Key-Pair-Id=K6UGZS9ZTDSZM
fabc9ddc0827668923d3c0063aebe397
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
1022
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
Centennial Photographic Company Albumen Prints
Description
An account of the resource
Some of the earliest pre-restoration photos held in the library's archives are albumen prints. Dating to circa 1875, the photos were produced by the Centennial Photographic Company in conjunction with the celebration of America's Centennial. Edward L. Wilson, a photo editor, and William Notman, a Scottish-Canadian photographer, served as the chief officers of the Centennial Photographic Company and directed its efforts after winning the license to take and market souvenir photos of the Centennial Exposition held in Philadelphia. The company also sold keepsake photos of former Civil War battlefields and the towns located near them. This set of photos is thought to be part of the Civil War series and documents some of the colonial era buildings still standing in Reconstruction Era Williamsburg, as well as earthworks remaining just outside of town that bear witness to Civil War battle maneuvers.
The quiet, backwater town that had lost its prominence after the state capital was moved to Richmond in 1780 suddenly began to attract some historical attention again due to its associations with the Battle of Williamsburg in 1862 and subsequent Union occupation. As photographers entered the area to commemorate these events, they discovered remnants of stirring colonial history via extant buildings such as the Courthouse of 1770, the Powder Magazine, Bruton Parish Church and cemetery, and the Wren Building at the College of William and Mary.
Invented by French photographer Louis Desire Blanquart Evrard in 1850, the albumen print became a dominant photographic process between 1855-1895. A wet-plate process, it involved sensitizing salted paper in a silver nitrate bath, drying it, and then placing the paper in a frame that could then be put in contact with a glass-collodian negative. When exposed to daylight, the photographic image would begin to appear on the paper. An egg white binder aided in distributing the light sensitive particles in a smooth manner across the paper. This binder is what helps give albumen prints a glossy surface and their trademark yellow or reddish brown cast.
Subject
The topic of the resource
Centennial Photographic Company
Albumen prints
Historic buildings - Virginia - Williamsburg
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
Albumen 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
Bruton Parish Church
Subject
The topic of the resource
Bruton Parish Church (Williamsburg, Va.)
Albumen prints
Centennial Photographic Company
Block 21. Building 01.
Church architecture - Virginia - Williamsburg
Description
An account of the resource
Since 1715, Bruton Parish Church has served continuously as a house of worship for the Williamsburg community. Like many other public buildings in the town, the church became a makeshift hospital during the Civil War. The sanctuary housed injured soldiers after the Battle of Williamsburg in 1862. Many Confederate soldiers lie in unmarked graves in the surrounding cemetery.
Various 19th-century modifications are documented in this photograph. One of three chimneys along the roof ridge is visible on the right. Added in 1840, when the altar was moved to the west end and a new entrance cut into the east façade, the chimneys provided ventilation for three large stoves used to heat the interior. A clock face is mounted on the steeple and almost obscures the small window in the octagonal section of the tower. Shutters cover the round-headed windows. Ivy climbs the east wall and thickly curtains the brick.
Fortunately, the overall exterior appearance of the church remained intact into the twentieth-century. During his first period as rector of Bruton Parish Church from 1903-1907, Dr. W.A.R. Goodwin oversaw restoration of the interior to commemorate the Jamestown Tercentenary of 1907. Further restoration work, including removal of the unauthentic exterior window shutters, occurred in 1939.
Creator
An entity primarily responsible for making the resource
Centennial Photographic Company
Date
A point or period of time associated with an event in the lifecycle of the resource
ca.1875
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>
Is Part Of
A related resource in which the described resource is physically or logically included.
Virginia Area Albumen Prints Collection, MS2005.16
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
D2010-COPY-0302-2015
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller Jr. Library, The Colonial Williamsburg Foundation
Albumen Prints
Bruton Parish Church
Centennial Photographic Company
Church Architecture
Churches
Virginia
Williamsburg
-
https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/2420dfac3593561c49d49dc63c79e0ef.jpg?Expires=1712793600&Signature=tO%7EUIJE4XCMhh9GcLpv1fADfi0Uk5xugWuzi71cxOrcqjbyT7VqDvfVozeraPjNNgcblxdKQIunjiVhfnaiJmWFQXDObo%7ELnWa72Nej4Gv2qdX2QfJcHdIKwltEXNrtyqld3VhQyNsAyt3eKDkOb4lW22Mw7ZTqyTWwNij7HjuCB3wWhdXfbKQLLYSC4VcSsP2pE40pn5r2-PlfIuYgdPal2qu5N0QmtP-Dfc1r1jEi%7EdfxWanw1iwsl-NsX%7EDAP%7EMQP9d0jUliU1AVbqT%7EEKZOCNtJxMW2illA5MENTrC6Of8DbGnbs1wlkP0j2GvM2Xq34zcSbYVWIYmpNk7P-Pw__&Key-Pair-Id=K6UGZS9ZTDSZM
451442361770ee9ff3d77f1cb6224c87
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
973
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
Centennial Photographic Company Albumen Prints
Description
An account of the resource
Some of the earliest pre-restoration photos held in the library's archives are albumen prints. Dating to circa 1875, the photos were produced by the Centennial Photographic Company in conjunction with the celebration of America's Centennial. Edward L. Wilson, a photo editor, and William Notman, a Scottish-Canadian photographer, served as the chief officers of the Centennial Photographic Company and directed its efforts after winning the license to take and market souvenir photos of the Centennial Exposition held in Philadelphia. The company also sold keepsake photos of former Civil War battlefields and the towns located near them. This set of photos is thought to be part of the Civil War series and documents some of the colonial era buildings still standing in Reconstruction Era Williamsburg, as well as earthworks remaining just outside of town that bear witness to Civil War battle maneuvers.
The quiet, backwater town that had lost its prominence after the state capital was moved to Richmond in 1780 suddenly began to attract some historical attention again due to its associations with the Battle of Williamsburg in 1862 and subsequent Union occupation. As photographers entered the area to commemorate these events, they discovered remnants of stirring colonial history via extant buildings such as the Courthouse of 1770, the Powder Magazine, Bruton Parish Church and cemetery, and the Wren Building at the College of William and Mary.
Invented by French photographer Louis Desire Blanquart Evrard in 1850, the albumen print became a dominant photographic process between 1855-1895. A wet-plate process, it involved sensitizing salted paper in a silver nitrate bath, drying it, and then placing the paper in a frame that could then be put in contact with a glass-collodian negative. When exposed to daylight, the photographic image would begin to appear on the paper. An egg white binder aided in distributing the light sensitive particles in a smooth manner across the paper. This binder is what helps give albumen prints a glossy surface and their trademark yellow or reddish brown cast.
Subject
The topic of the resource
Centennial Photographic Company
Albumen prints
Historic buildings - Virginia - Williamsburg
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
Albumen print on board
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
Bruton Parish Church Cemetery
Subject
The topic of the resource
Bruton Parish Church (Williamsburg, Va.)
Albumen prints
Centennial Photographic Company
Block 21. Building 01.
Cemeteries - Virginia - Williamsburg
Description
An account of the resource
Tombstones and monuments of important historical figures fill the cemetery of Bruton Parish Church. The efforts of the Centennial Photographic Company to document the graves of earlier inhabitants underscores its mission to visually record historic features of the town. Along with several marked memorials to fallen Confederate soldiers, the graveyard is known to contain the unmarked plots of at least forty Confederate soldiers who died after the Battle of Williamsburg.
One of the earliest organized activities to preserve Williamsburg's historic heritage occurred in the churchyard under the direction of the Catharine Memorial Society. In the early 1880s, a group of women led by Cynthia Beverly Tucker Coleman raised money to repair the cemetery in memory of her daughter, Catharine Brooke Coleman. This photo records the condition of the graveyard prior to any preservation efforts.
Creator
An entity primarily responsible for making the resource
Centennial Photographic Company
Date
A point or period of time associated with an event in the lifecycle of the resource
ca.1875
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>
Is Part Of
A related resource in which the described resource is physically or logically included.
Albumen Print Collection, MS2005.16
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
D2010-COPY-0302-2010
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller Jr. Library, The Colonial Williamsburg Foundation
Albumen Prints
Bruton Parish Church
Cemeteries
Centennial Photographic Company
Graveyards
Virginia
Williamsburg
-
https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/c9e000e453b9ad19ee67fda40bec74a7.jpg?Expires=1712793600&Signature=BgHsnqv16A1kHftK8MKCEItsO50x%7EBSdulVV53CpedjOOet3NrVujMU06tyUlsfEPHJ2fztEidK3U7WmFueH36feDhuGGDubRunhSm28vMT8SvE1VcefkrK1DiGwF5NA0Uu32LRYU6v-ssr84TgTcjmgfku8yu0-MZo2JKlK22MNM0LdLNBVxv4qO2WqlrV4YYLYkPT0w3k%7EPDyTaZuLyzSF7QYbiAxG2b28gBWEjzNkLDHCeDeieTIAfxQE3Rz87233iF8cCTG0k52%7E4yR2Ny3p5vYVyAEll0PEMWXKeau0uESPqddg-b9SuDDr4hnSTH7kLGYOuVAVlTFrbAnI%7Eg__&Key-Pair-Id=K6UGZS9ZTDSZM
7f137ac2084686b25b15da53166b647f
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
961
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
Dr. W.A.R. Goodwin : Rector, Bruton Parish
Subject
The topic of the resource
Goodwin, William Archer Rutherfoord, 1869-1939
Episcopal church - Virginia - Clergy
Lantern slides
Pacific Stereopticon Co.
Description
An account of the resource
Lantern slide featuring a photographic portrait of Dr. W.A.R. Goodwin, rector of Bruton Parish Church and a leading force behind the development of Colonial Williamsburg. It is the first in a set produced by the Pacific Stereopticon Co. of Los Angeles, California, now defunct, to illustrate the story of Goodwin's dream to restore a portion of Williamsburg, Virginia to its 18th-century appearance as a shrine to early American ideals.
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. 1930
Is Part Of
A related resource in which the described resource is physically or logically included.
Pacific Stereopticon Co. Lantern Slide Collection
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
PSC-001
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller Jr. Library, The Colonial Williamsburg Foundation
Bruton Parish Church
Clergy
Lantern Slides
Pacific Stereopticon Company
Portraits
William Archer Rutherfoord Goodwin
-
https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/cd2dd355be48831d64d06c184227e230.jpg?Expires=1712793600&Signature=ohXUqeO35rwLwErkQK0ckl-U0XrAdazknPNoYmjt6vzpQU7upJiHA2P1b218%7ESA-6U8UgBEyrWdjMAVLIu4DFLtREVuCqqUee6v2xQ-SPumOOLuylEaI5bj-u-YVUQHAj8QWqa7-jrJnJaI8bDZ4wS%7EYdPqTxqriB5m0tJQoNYj7JIV9yinlPlGJ56GcFctqcvNx0koKDBquHDk8ohv22Dc4BJCfuj-iK7PG7I5kzgdotxUL44SS8SMlIZ2SIt8JzazO6kW31lsgkXYwbhXXixV9p795Cuw6i2KF85sfd%7EEz0k0CqPThFQ0DCDfY0yMMTamLYRhgPPa8CaFILGtP-w__&Key-Pair-Id=K6UGZS9ZTDSZM
00af18ac310724d36f39da4c1edf35f8
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
Bruton Parish
Subject
The topic of the resource
Bruton Parish Church (Williamsburg, Va.)
Creator
An entity primarily responsible for making the resource
Pacific Stereopticon Company
Rights Holder
A person or organization owning or managing rights over the resource.
John D. Rockefeller Jr. Library, The Colonial Williamsburg Foundation
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
Bruton Parish Church
Subject
The topic of the resource
Bruton Parish Church (Williamsburg, Va.)
Church architecture - Virginia - Williamsburg
Block 21. Building 01.
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. 1935
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
Lantern slide featuring a photo of the exterior of Bruton Parish Church as it appeared around 1935. It is the twenty-first 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.
A smaller seventeenth-century structure stood on the site from 1683 until 1715, when the larger and more elaborate cruciform-style church replaced it. Located at the edge of Palace Green on the corner of Duke of Gloucester Street and Palace Street, the church was originally designed by colonial Governor Alexander Spotswood.
A series of restoration efforts began under Dr. W.A.R. Goodwin's direction between 1903-1907 and continued periodically until completed in 1940. In this 1935 photo of the north facade of Bruton Parish Church, the building retains the Colonial Revival window shutters installed by architect J. Stewart Barney during his 1906 renovation of the exterior, according to how be believed the church appeared in the eighteenth century. The shutters were later removed during final restoration efforts in 1939, given the availability of further research information.
Bruton Parish continues to serve an active Episcopal congregation and has functioned as a site of worship for the community since the parish was first founded in 1674.
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
Identifier
An unambiguous reference to the resource within a given context
PSC-021
Brickwork
Bruton Parish Church
Cemeteries
Church Architecture
Clock Towers
Cruciform
Lantern Slides
Pacific Stereopticon Company
Round-headed Windows
Shutters
Steeples
Tombstones
Virginia
Williamsburg
-
https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/e9537ea82597dfac37df4dc833dd54bf.jpg?Expires=1712793600&Signature=i40W6GeEywwEKarm51gKIdnR3TFneCbMi-y7AD9Wj7v8XmuWETrqZy5SJ5606MsSIrW9tH3bnUcI8FFmv4KRZJ9RoDKLUTwxoEZJKBfSn-AXW9HvCOG-fm9z2itXk%7ESIUwWV4yoavmt8n9jXMogdYuAwhMDt9YP75X0gIh%7EGTSeUf5iFdX2qDx67qleO-lg55UCaa%7EBEs5kkrAVy1hIx46h-wTlX0-m9-geR9uY1qErxBbCFbcC6r0%7EQZdLodB0NLDeHxspr6QO0cgVimuTQPvizkjNTf1VneiiEnrQrK7PHO3vnn7BChrXVyngnAwN84mc3o5yEHICfIi4L4sR39w__&Key-Pair-Id=K6UGZS9ZTDSZM
23b5fe06f4d64d3b831ac23a3c6a337d
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
Interior of Bruton Church
Subject
The topic of the resource
Bruton Parish Church (Williamsburg, Va.)
Creator
An entity primarily responsible for making the resource
Pacific Stereopticon Company
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. 1930s
Identifier
An unambiguous reference to the resource within a given context
PSC-022
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller Jr. Library, The Colonial Williamsburg Foundation
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
Interior of Bruton Church
Subject
The topic of the resource
Bruton Parish Church (Williamsburg, Va.)
Church architecture - Virginia - Williamsburg
Historic buildings - Virginia - Williamsburg
Block 21. Building 01.
Identifier
An unambiguous reference to the resource within a given context
PSC-022
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
Lantern slide featuring a photo of the interior of Bruton Parish Church looking down the nave towards the altar. It is the twenty-second slide in a set produced by the Pacific Stereopticon Co. of Los Angeles, California, now defunct, to illustrate the story of Dr. W.A.R. Goodwin's dream to restore a portion of Williamsburg, Virginia to its 18th-century appearance as a shrine to early American ideals.
This pre-restoration view of the church interior dates to sometime between 1907 and 1930. It reflects changes made to the sanctuary as a result of initial efforts to bring the interior closer to its original form in anticipation of the Jamestown Tercentenary. Dr. W.A.R. Goodwin, who became rector of the church in 1903, worked with architect J. Stewart Barney on the plans. Renovations to the church in the 19th-century had led to the reorientation of the sanctuary and the movement of the altar to the west end. The 1907 refurbishment included re-situating the altar at the east end of the nave. A large circular stained glass window provided a colorful focal point above the altar. It was later removed during a final wave of restoration work undertaken in 1939.
Publisher
An entity responsible for making the resource available
Pacific Stereopticon Co.
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. 1907-1930
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
Altars
Arches
Bruton Parish Church
Chandeliers
Crosses
Flags
Lantern Slides
Lecturns
Pacific Stereopticon Company
Pews
Pulpits
Sounding Boards
Stained Glass Windows
Virginia
Williamsburg
-
https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/9e4365faa804851ca82152e3192711ff.jpg?Expires=1712793600&Signature=HyaviCxEoXc4uEl4qrtRzfrhZTyjEmUN9AYOregHvRHkl4Iz5NBHtY86XRaNZ6u0mysvCjULliALLIKIBIS3nwkaO7ABuni5gxVbGar-98m9AQOd03JvMaObNRisrBsW1%7EXm92VfvOK82MB6cyde-Jl96tTOnQy4cRIILS14HeZc%7EY9NBqf-BJGBXQT-ozhAzJZKnjEDGQMajss9-zHUUHcahICrp0AoNuBxYVgc5LJDyAHrbeh3BE%7EOVMTeR6GL67M9%7Eni20bEedIS3Mmkl9kaKV1OdKZ4baWkpTI5PRCkBRCF4BdFzuCRz6hYyPt5bFfI0-sM3i%7E5UwGFYQ5xVyw__&Key-Pair-Id=K6UGZS9ZTDSZM
9d2b22814a65d3aae4083bb796153c21
https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/b6e1a50b25d6a1f4693c8cdf03ae9c7a.jpg?Expires=1712793600&Signature=emR5cvkmp419xzaFE-GzPt8EqcRNr3gO6wydphtB7QSPIDXMKE0JLMhH5OJj0vJbf7XGL4wQWWr97TrcYY5SXbaZ8v9sKOQpRmeeM03nPtk9ETYRrDm8w3KONvQ1-1kpz2GmCQPN1B1NM5ZiRb0f5s4BhVugFNFvn4W1YtUoJBxlUMltjGUUnhfIeF79Wo4GJF5Olc8w%7EY9Ehysorik5hNvwyc4C95FpmMvmj5k5FE0G%7ExX6TCU-P2uD5ye1nsD0u7fRz9dKxpbmVAEbDO33cDxH4kXDuebKlkHab4skh3l9AiaSnOV4f6cAifRy6sIfqvzm-g7wudFZGsHLBNywLA__&Key-Pair-Id=K6UGZS9ZTDSZM
b36c30f92b98f921e1007ac1206ecb65
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Selections from the Postcard Collection
Description
An account of the resource
The Postcard Collection housed at the John D. Rockefeller Jr. Library consists of postcards of Williamsburg and surrounding areas dating from the late 19th-century to the present. It includes examples of early postcards of the town prior to its restoration by John D. Rockefeller Jr. In addition, it encompasses many examples of official postcards produced by Colonial Williamsburg for tourists. A smaller number of postcards of neighboring historic sites, such as Jamestown and Yorktown, are also present.
The selections included here are primarily vintage postcards of Colonial Williamsburg and surrounding tourist attractions ranging in date from 1898 to the 1950s. Early cards in the collection illustrate a range of common postcard types and reproduction techniques. The history of the postcard's development as a souvenir, as well as the growth of tourism in Williamsburg, can be traced via Colonial Williamsburg's Postcard Collection.
During what is known as the Pioneer Era from 1870-1898, the first form of postcard, featuring an illustration on one side and an undivided back on the other, did not allow the sender to include a note, unless it was written across a portion of the image on the front. The majority of pioneering postcard formats served as advertisements up until the 1893 Columbia Exposition, when postcards first appeared as souvenirs for Exposition visitors to purchase.
The Private Mailing Card Era from 1898-1901 is characterized by cards printed with the notice "Private Mailing Card Authorized by Act of Congress on May 19, 1898." Backs of the cards remained undivided and purchasers could mail the cards for a cost of one cent. Several examples of postcards from this era are present in the collection. They include some of the earliest instances of souvenir cards created to promote Williamsburg historic sites, such as the Courthouse, Bruton Parish Church, the Powder Magazine, and the Capitol site. European rather than American printers created many of these postcards due to their superb skills. Chromo-lithograph cards of this era exhibit extremely rich colors.
By the time the Jamestown Exposition took place in 1907, postcard production had entered the Divided Back Era, which continued until 1915. Modified postcard backs offered a segment on the left side for senders to pen a brief message. Production of cards gradually shifted to more American printers. The Jamestown Exposition provided a strong impetus for promotion of other historic sites that attendees might also stop at along the way. A series of postcards commemorating Williamsburg area historic sites in conjunction with the 1907 celebration are excellent examples of very early divided back cards.
The Early Modern Era between 1916-1930 led to an increase in production of souvenir cards relating to the Williamsburg area. One type of format popular in this period is the "White Border Card" characterized by a view surrounded with a white border. Real photo cards also began to appear that featured photographs, rather than prints, of local surroundings. In the era before Colonial Williamsburg operated official gift shops, tourists counted on the Cole News Shop as their source for maps, postcards, travel guides, and souvenirs. Mr. Henry Dennison Cole served as the proprietor. His business stood on the site of the present day Taliaferro-Cole Shop. He produced his own postcards of historic sites in the area being restored by the Association for the Preservation of Virginia Antiquities and other groups of preservation minded citizens. Several examples of cards published by the Cole Shop can be found in the collection and offer a glimpse of attractions popular with early 20th-century tourists, such as the old Masonic Hall and Custis Kitchen.
Once Colonial Williamsburg opened a core group of exhibition buildings to the public in the early 1930s, a new era dawned in which the museum began production of official postcards as souvenirs for visitors. Photographs by F.S. Lincoln, an architectural photographer hired on a contract basis in 1935 to take some of the first promotional photos of Colonial Williamsburg exhibition buildings, appeared on a number of real photo postcards issued in the late 1930s. Both examples of postcards bearing his photos, as well as his actual photograph collection, reside at the Rockefeller Library.
The Albertype Company of Brooklyn, New York, produced one of the earliest official postcard series highlighting Colonial Williamsburg exhibition buildings, costumed interpreters, Williamsburg Inn and Lodge, and Merchants Square. In addition to holding numerous examples of Albertype cards, the Rockefeller Library also houses the corresponding photographic prints used to generate the postcards. Albertype cards are characterized by sepia toned images that show exterior and interior views of exhibition buildings, as well as some of the earliest scenes of African Americans in costume demonstrating colonial cooking techniques.
For further information about Williamsburg postcards, please consult:
Preacher, Kristopher J. "Williamsburg in Vintage Postcards." Charleston: Arcadia Publishing, 2002.
Reisweber, Kurt. "Williamsburg in Old Post Cards." Colonial Williamsburg XXI, No.2, (June/July 1999): 52-57.
Subject
The topic of the resource
Postcards - Virginia - Williamsburg
Souvenirs (Keepsakes) - Virginia - Williamsburg - Pictorial works
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
Postcard
Physical Dimensions
The actual physical size of the original image.
3.5 x 5.5 inches
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Duke of Gloucester Street
Subject
The topic of the resource
Bruton Parish Church (Williamsburg, Va.)
Block 21. Building 01.
Streets - Virginia - Williamsburg
Description
An account of the resource
Recto and verso of postcard featuring a view looking down Duke of Gloucester Street towards Bruton Parish Church. The side of the Colonial Hotel, located on the site of Chowning's Tavern, is visible across Palace Green. A female artist stands in the shade of a tree in the right foreground working on a composition. Published by the Detriot Photographic Company in 1902, this is an example of a card with an undivided back.
Date
A point or period of time associated with an event in the lifecycle of the resource
1902
Is Part Of
A related resource in which the described resource is physically or logically included.
Postcard Collection
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
Creator
An entity primarily responsible for making the resource
Detriot Photographic Company
Identifier
An unambiguous reference to the resource within a given context
AV-2003-06-30
Artists
Bruton Parish Church
Church Architecture
Colonial Hotel
Detroit Photographic Company
Duke of Gloucester Street
Palace Green
Postcards
Street Scenes
Virginia
Williamsburg
-
https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/3e34cb4e1f878d905f760d75b5c0e6c6.jpg?Expires=1712793600&Signature=EsiBw71du4hcqGEN90XF7VBzgl1eOQJfZn%7EeNOn6-1x-7Hwm3PtNyogNTWBqiIW76Jq%7EbtQ57G-p5SEbFDuPdSKh%7EAc0IxTW0DIFUJupu62HtnJHnJNGGGirvOE4W9t49c6sABGGgMa7VCvIH9NVv2f39OUFLOxbT7VASilxJzLqRea3-wjkHiDhHJ42HkJVWrEgJKSEYG-lTOTpqP31LZLycnz3dqKaVUKYzAbV9jmKWe4bcDdOPGhd%7EU2Y93X2vScok38HnO6nDOW%7EeZiCQ-vpwnFSWKpTVvTxSGf1Zf0w%7E9X7czbPZsMkLl6z5VxFHK%7EKGT-ttbqwdZzVmiimSw__&Key-Pair-Id=K6UGZS9ZTDSZM
b2e489652e96aeeb1192ca606892eaa6
https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/f79abc0fefa1adc00daad98f69a9cb3c.jpg?Expires=1712793600&Signature=hC3i5i7GubB-ELLNHgWo6phjQBsIdvD2C9cd0GNyrSKol46E1T2az9pw630E0zv8MkApBZOGKdpSsOQOnhlVoPtH9gwk2nNIhFiyrOg8zfgWu44r6vVCfbpfkpsUK941tktia-gU6C7fywHMGhhZ2zKGJpISfPslTV%7EQNY33Kk1EYnpXVZQUZfWAOoiaecFVETEvdcUF5HlWwzJFTh35cY6pVYm%7E4g8vQscwpPLOfmmj95RQ9NBfcNSbge81LD-S3zC%7ER6cT2vyHnH8dUuM5ARe5jzHBYWqpGcXU4DuB6m5s7hVvE-Kqx%7EeYIk7hAyUPsZVkD1fDZjtAQvxumKxXMg__&Key-Pair-Id=K6UGZS9ZTDSZM
2e124204ec633dbeb519a14f74316b78
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Selections from the Postcard Collection
Description
An account of the resource
The Postcard Collection housed at the John D. Rockefeller Jr. Library consists of postcards of Williamsburg and surrounding areas dating from the late 19th-century to the present. It includes examples of early postcards of the town prior to its restoration by John D. Rockefeller Jr. In addition, it encompasses many examples of official postcards produced by Colonial Williamsburg for tourists. A smaller number of postcards of neighboring historic sites, such as Jamestown and Yorktown, are also present.
The selections included here are primarily vintage postcards of Colonial Williamsburg and surrounding tourist attractions ranging in date from 1898 to the 1950s. Early cards in the collection illustrate a range of common postcard types and reproduction techniques. The history of the postcard's development as a souvenir, as well as the growth of tourism in Williamsburg, can be traced via Colonial Williamsburg's Postcard Collection.
During what is known as the Pioneer Era from 1870-1898, the first form of postcard, featuring an illustration on one side and an undivided back on the other, did not allow the sender to include a note, unless it was written across a portion of the image on the front. The majority of pioneering postcard formats served as advertisements up until the 1893 Columbia Exposition, when postcards first appeared as souvenirs for Exposition visitors to purchase.
The Private Mailing Card Era from 1898-1901 is characterized by cards printed with the notice "Private Mailing Card Authorized by Act of Congress on May 19, 1898." Backs of the cards remained undivided and purchasers could mail the cards for a cost of one cent. Several examples of postcards from this era are present in the collection. They include some of the earliest instances of souvenir cards created to promote Williamsburg historic sites, such as the Courthouse, Bruton Parish Church, the Powder Magazine, and the Capitol site. European rather than American printers created many of these postcards due to their superb skills. Chromo-lithograph cards of this era exhibit extremely rich colors.
By the time the Jamestown Exposition took place in 1907, postcard production had entered the Divided Back Era, which continued until 1915. Modified postcard backs offered a segment on the left side for senders to pen a brief message. Production of cards gradually shifted to more American printers. The Jamestown Exposition provided a strong impetus for promotion of other historic sites that attendees might also stop at along the way. A series of postcards commemorating Williamsburg area historic sites in conjunction with the 1907 celebration are excellent examples of very early divided back cards.
The Early Modern Era between 1916-1930 led to an increase in production of souvenir cards relating to the Williamsburg area. One type of format popular in this period is the "White Border Card" characterized by a view surrounded with a white border. Real photo cards also began to appear that featured photographs, rather than prints, of local surroundings. In the era before Colonial Williamsburg operated official gift shops, tourists counted on the Cole News Shop as their source for maps, postcards, travel guides, and souvenirs. Mr. Henry Dennison Cole served as the proprietor. His business stood on the site of the present day Taliaferro-Cole Shop. He produced his own postcards of historic sites in the area being restored by the Association for the Preservation of Virginia Antiquities and other groups of preservation minded citizens. Several examples of cards published by the Cole Shop can be found in the collection and offer a glimpse of attractions popular with early 20th-century tourists, such as the old Masonic Hall and Custis Kitchen.
Once Colonial Williamsburg opened a core group of exhibition buildings to the public in the early 1930s, a new era dawned in which the museum began production of official postcards as souvenirs for visitors. Photographs by F.S. Lincoln, an architectural photographer hired on a contract basis in 1935 to take some of the first promotional photos of Colonial Williamsburg exhibition buildings, appeared on a number of real photo postcards issued in the late 1930s. Both examples of postcards bearing his photos, as well as his actual photograph collection, reside at the Rockefeller Library.
The Albertype Company of Brooklyn, New York, produced one of the earliest official postcard series highlighting Colonial Williamsburg exhibition buildings, costumed interpreters, Williamsburg Inn and Lodge, and Merchants Square. In addition to holding numerous examples of Albertype cards, the Rockefeller Library also houses the corresponding photographic prints used to generate the postcards. Albertype cards are characterized by sepia toned images that show exterior and interior views of exhibition buildings, as well as some of the earliest scenes of African Americans in costume demonstrating colonial cooking techniques.
For further information about Williamsburg postcards, please consult:
Preacher, Kristopher J. "Williamsburg in Vintage Postcards." Charleston: Arcadia Publishing, 2002.
Reisweber, Kurt. "Williamsburg in Old Post Cards." Colonial Williamsburg XXI, No.2, (June/July 1999): 52-57.
Subject
The topic of the resource
Postcards - Virginia - Williamsburg
Souvenirs (Keepsakes) - Virginia - Williamsburg - Pictorial works
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
Postcard
Physical Dimensions
The actual physical size of the original image.
3.5 x 5.5 inches
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The Distinguished Colonists of the Early Days Attending Old Bruton Parish Church, Williamsburg, Va.
Subject
The topic of the resource
Bruton Parish Church (Williamsburg, Va.)
Block 21. Building 01.
Church architecture - Virginia - Williamsburg
Postcards - Virginia - Williamsburg
Thompson, A. Wordsworth (Alfred Wordsworth), 1840-1896
Description
An account of the resource
Recto and verso of postcard illustrated with a hand-colored image of a painting titled "Bruton Parish Church in Early Colonial Days" by A. Wordsworth Thompson. The original painting is now owned by the Metropolitan Museum of Art. Thompson was active as an artist in the late 19th-century. This composition depicts the church as it appeared before 1895.
The caption reads: "Bruton Parish Church. Oldest Episcopal Church in America in continuous use, Court church of Colonial Virginia. Worship began 1632. First brick church completed 1683. Present building 1710-15. Transepts built by and for House of Burgesses. Colonial Governor's Canopied Pew. Three sets communion silver, viz.: Jamestown, 1661; William and Mary, 1686; King George III, 1766. Jamestown Font, "Liberty Bell of Virginia," first in America to proclaim civil Independence, May 15th, 1776. George Washington's name on parish register eleven times. Lectern presented by President Theodore Roosevelt. Holy Bible by King Edward VII. Pews Memorial to George Washington, Thomas Jefferson, James Monroe, John Tyler, John Marshall, Patrick Henry and many other distinguished worshippers."
Creator
An entity primarily responsible for making the resource
H.D. Cole for The Albertype Co.
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. 1930s
Is Part Of
A related resource in which the described resource is physically or logically included.
Postcard Collection
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
AV-2000-02-82-R
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller Jr. Library, The Colonial Williamsburg Foundation
A. Wordsworth Thompson
Albertype Company
Bruton Parish Church
Carriages
Church Architecture
Colonists
Duke of Gloucester Street
H.D. Cole
Paintings
Postcards
-
https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/b4a6d8c516db3f1922e952f89b4d5826.jpg?Expires=1712793600&Signature=vuWeEYL5C50UtrPiNd83S6EgJ7fa%7Efyowh6gsr4BhS3E35dpZ%7EZowtSfSOK05A%7ERb76yGkj4KK9mxC03MkCzkmV9kz0fL2WbM9A7oBLK9c3RblgwDp6is1dMGlrCjpV2vZ-H8hHZ%7EGDzeW39iByYY6SGl5xUKlResMiUjC%7Ev-KjA8KrGgiHyQGT9CYJUwHR-KTMZOJqJhB10RE-UmqUDrnpwK51TgLJQ%7EE3fXzLG7z7u6yZ9oqMZWlmM6DHQXWehe3UJTw5KSGpodzwYhtbHtEFD1kzEaMXVp4N9LbeLGvQu8QUiIJSY7deYudzo-QB4nbuMJgnxkZtmJsedC9pLSg__&Key-Pair-Id=K6UGZS9ZTDSZM
dca174b85fae4a441a60406768678fdd
https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/a4d0e6336bd93177a8781e130bb4311f.jpg?Expires=1712793600&Signature=KiupyOdpZCk8gqUeGcCsGZF38syfPWGcO0afR%7EAYK06gH0KsGHgWkIC-jNJ7%7EytRjxmFZmKbk6W2CMp3Y%7EyB0RysV6JBi9rf3ip3mfWcmy-YcHP7IoNUC7noiP8MuOjtVM93jbUILoXfZtmm%7Ef762k5CI1upPd-3%7EYXiQsMw4brO7Je5Tfm29QP8gU2BfGXRGXooLLWOss76zCONvHsReje1UOEznyNZ8UxK38Qt00tY08FmMzSHzgfiXzLjwhFWuPS4arZJ8h1VcDk5moKBTK%7Ej%7ESufWwtg7l3qSl3ZjxkR5BNRniswToKGMZV2I2LibxhlN6R2uGGkZfLbMs9A7w__&Key-Pair-Id=K6UGZS9ZTDSZM
f7eba657332741719de037e7b1befe17
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Selections from the Postcard Collection
Description
An account of the resource
The Postcard Collection housed at the John D. Rockefeller Jr. Library consists of postcards of Williamsburg and surrounding areas dating from the late 19th-century to the present. It includes examples of early postcards of the town prior to its restoration by John D. Rockefeller Jr. In addition, it encompasses many examples of official postcards produced by Colonial Williamsburg for tourists. A smaller number of postcards of neighboring historic sites, such as Jamestown and Yorktown, are also present.
The selections included here are primarily vintage postcards of Colonial Williamsburg and surrounding tourist attractions ranging in date from 1898 to the 1950s. Early cards in the collection illustrate a range of common postcard types and reproduction techniques. The history of the postcard's development as a souvenir, as well as the growth of tourism in Williamsburg, can be traced via Colonial Williamsburg's Postcard Collection.
During what is known as the Pioneer Era from 1870-1898, the first form of postcard, featuring an illustration on one side and an undivided back on the other, did not allow the sender to include a note, unless it was written across a portion of the image on the front. The majority of pioneering postcard formats served as advertisements up until the 1893 Columbia Exposition, when postcards first appeared as souvenirs for Exposition visitors to purchase.
The Private Mailing Card Era from 1898-1901 is characterized by cards printed with the notice "Private Mailing Card Authorized by Act of Congress on May 19, 1898." Backs of the cards remained undivided and purchasers could mail the cards for a cost of one cent. Several examples of postcards from this era are present in the collection. They include some of the earliest instances of souvenir cards created to promote Williamsburg historic sites, such as the Courthouse, Bruton Parish Church, the Powder Magazine, and the Capitol site. European rather than American printers created many of these postcards due to their superb skills. Chromo-lithograph cards of this era exhibit extremely rich colors.
By the time the Jamestown Exposition took place in 1907, postcard production had entered the Divided Back Era, which continued until 1915. Modified postcard backs offered a segment on the left side for senders to pen a brief message. Production of cards gradually shifted to more American printers. The Jamestown Exposition provided a strong impetus for promotion of other historic sites that attendees might also stop at along the way. A series of postcards commemorating Williamsburg area historic sites in conjunction with the 1907 celebration are excellent examples of very early divided back cards.
The Early Modern Era between 1916-1930 led to an increase in production of souvenir cards relating to the Williamsburg area. One type of format popular in this period is the "White Border Card" characterized by a view surrounded with a white border. Real photo cards also began to appear that featured photographs, rather than prints, of local surroundings. In the era before Colonial Williamsburg operated official gift shops, tourists counted on the Cole News Shop as their source for maps, postcards, travel guides, and souvenirs. Mr. Henry Dennison Cole served as the proprietor. His business stood on the site of the present day Taliaferro-Cole Shop. He produced his own postcards of historic sites in the area being restored by the Association for the Preservation of Virginia Antiquities and other groups of preservation minded citizens. Several examples of cards published by the Cole Shop can be found in the collection and offer a glimpse of attractions popular with early 20th-century tourists, such as the old Masonic Hall and Custis Kitchen.
Once Colonial Williamsburg opened a core group of exhibition buildings to the public in the early 1930s, a new era dawned in which the museum began production of official postcards as souvenirs for visitors. Photographs by F.S. Lincoln, an architectural photographer hired on a contract basis in 1935 to take some of the first promotional photos of Colonial Williamsburg exhibition buildings, appeared on a number of real photo postcards issued in the late 1930s. Both examples of postcards bearing his photos, as well as his actual photograph collection, reside at the Rockefeller Library.
The Albertype Company of Brooklyn, New York, produced one of the earliest official postcard series highlighting Colonial Williamsburg exhibition buildings, costumed interpreters, Williamsburg Inn and Lodge, and Merchants Square. In addition to holding numerous examples of Albertype cards, the Rockefeller Library also houses the corresponding photographic prints used to generate the postcards. Albertype cards are characterized by sepia toned images that show exterior and interior views of exhibition buildings, as well as some of the earliest scenes of African Americans in costume demonstrating colonial cooking techniques.
For further information about Williamsburg postcards, please consult:
Preacher, Kristopher J. "Williamsburg in Vintage Postcards." Charleston: Arcadia Publishing, 2002.
Reisweber, Kurt. "Williamsburg in Old Post Cards." Colonial Williamsburg XXI, No.2, (June/July 1999): 52-57.
Subject
The topic of the resource
Postcards - Virginia - Williamsburg
Souvenirs (Keepsakes) - Virginia - Williamsburg - Pictorial works
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
Bruton Parish Church
Subject
The topic of the resource
Bruton Parish Church (Williamsburg, Va.)
Block 21. Building 01.
Church architecture - Virginia - Williamsburg
Postcards - Virginia - Williamsburg
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
Recto and verso of postcard illustrated with a view of the northeast exterior elevation of Bruton Parish Church. Part of a series produced by the Albertype Co. of Brooklyn, New York, for Colonial Williamsburg, the card is an example of early efforts to promote Williamsburg as tourist destination. This photo pre-dates the final 1939 restoration of the church, when such features as the exterior shutters, the stove chimney, and louvered window grills on the tower were removed to bring the exterior back to its 18th-century appearance.
Creator
An entity primarily responsible for making the resource
Albertype Co.
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. 1930s
Is Part Of
A related resource in which the described resource is physically or logically included.
Postcard Collection
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
AV-2003-06-24-R
AV-2003-06-24-V
Albertype Company
Brick Walls
Bruton Parish Church
Cemeteries
Chimneys
Church Architecture
Colonial Architecture
Gates
Graveyards
Louvered Window Grills
Postcards
Round-headed Windows
Shutters
Steeples
Towers
Virginia
Williamsburg
-
https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/a2b817221176a198ee339bd41849b68c.jpg?Expires=1712793600&Signature=M7h4u7vQ-ChM7XxzY-2zXD-ZUGPWaw0povJUybUlDFvzJWYm00yKgHaRkty%7EvSG6mOOmJi9jf2xcDForUGrgCCcNN8rjsf1lCsMaKKDp5xfClsoKUFvREru2DGnjo4%7EBfyRi58q55LY%7EFP4FOKm8yTPmKbY29rmfKBcODHMFlj0VUZwu7OFRV0RJol%7EvR34qu6Mm0uMWum3iUMkHEdAJKCC0tT45-9h2Uqndvoe3knmkj%7EKzvyZMwofsxT6CzyzDJeQGlnL0YMjwAbsipDj%7EgzAdyz7VwlUNcb09BMnRUuDO4z6ps6guMqelEt79upMJai38fbO4etie2e%7EiVgKFow__&Key-Pair-Id=K6UGZS9ZTDSZM
3e0430641b0e50fa18f79a40270941b4
https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/66f70be0aac1ee35e7e232a2f5186d68.jpg?Expires=1712793600&Signature=FOtJ%7EbpOv3whUgAjc7XRhrGINqQhCDw3EqKQK5tMIN6wEELvR188-ob1L%7EwLLXLnouIBbD4pQLJEY1q48ROGBDQDB%7E9eZpBEhIzn7EbiqehQIiUYYGchXaEVIlnKjP0yeBI0YZKvKfXxdTj4knlcWidnLyCft3zCNXdSchBsOpkYJowdOv5oFHasJVWn-GNI8pQVftG%7EE-Nii1m1gFnrzqgNbzsPyvizczgf5w62UzIMFvTnWNQ7po2ecbsQq8E05E8uEktfXvRReT9wxxGNl8Zig7TZH0QDkXbM8Nayh7IP5SJCMOl5lsciFIbnZlWR61rkPwhvgzRO5knqMnc8oQ__&Key-Pair-Id=K6UGZS9ZTDSZM
79de0baeb054098556840b614018c8c3
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Selections from the Postcard Collection
Description
An account of the resource
The Postcard Collection housed at the John D. Rockefeller Jr. Library consists of postcards of Williamsburg and surrounding areas dating from the late 19th-century to the present. It includes examples of early postcards of the town prior to its restoration by John D. Rockefeller Jr. In addition, it encompasses many examples of official postcards produced by Colonial Williamsburg for tourists. A smaller number of postcards of neighboring historic sites, such as Jamestown and Yorktown, are also present.
The selections included here are primarily vintage postcards of Colonial Williamsburg and surrounding tourist attractions ranging in date from 1898 to the 1950s. Early cards in the collection illustrate a range of common postcard types and reproduction techniques. The history of the postcard's development as a souvenir, as well as the growth of tourism in Williamsburg, can be traced via Colonial Williamsburg's Postcard Collection.
During what is known as the Pioneer Era from 1870-1898, the first form of postcard, featuring an illustration on one side and an undivided back on the other, did not allow the sender to include a note, unless it was written across a portion of the image on the front. The majority of pioneering postcard formats served as advertisements up until the 1893 Columbia Exposition, when postcards first appeared as souvenirs for Exposition visitors to purchase.
The Private Mailing Card Era from 1898-1901 is characterized by cards printed with the notice "Private Mailing Card Authorized by Act of Congress on May 19, 1898." Backs of the cards remained undivided and purchasers could mail the cards for a cost of one cent. Several examples of postcards from this era are present in the collection. They include some of the earliest instances of souvenir cards created to promote Williamsburg historic sites, such as the Courthouse, Bruton Parish Church, the Powder Magazine, and the Capitol site. European rather than American printers created many of these postcards due to their superb skills. Chromo-lithograph cards of this era exhibit extremely rich colors.
By the time the Jamestown Exposition took place in 1907, postcard production had entered the Divided Back Era, which continued until 1915. Modified postcard backs offered a segment on the left side for senders to pen a brief message. Production of cards gradually shifted to more American printers. The Jamestown Exposition provided a strong impetus for promotion of other historic sites that attendees might also stop at along the way. A series of postcards commemorating Williamsburg area historic sites in conjunction with the 1907 celebration are excellent examples of very early divided back cards.
The Early Modern Era between 1916-1930 led to an increase in production of souvenir cards relating to the Williamsburg area. One type of format popular in this period is the "White Border Card" characterized by a view surrounded with a white border. Real photo cards also began to appear that featured photographs, rather than prints, of local surroundings. In the era before Colonial Williamsburg operated official gift shops, tourists counted on the Cole News Shop as their source for maps, postcards, travel guides, and souvenirs. Mr. Henry Dennison Cole served as the proprietor. His business stood on the site of the present day Taliaferro-Cole Shop. He produced his own postcards of historic sites in the area being restored by the Association for the Preservation of Virginia Antiquities and other groups of preservation minded citizens. Several examples of cards published by the Cole Shop can be found in the collection and offer a glimpse of attractions popular with early 20th-century tourists, such as the old Masonic Hall and Custis Kitchen.
Once Colonial Williamsburg opened a core group of exhibition buildings to the public in the early 1930s, a new era dawned in which the museum began production of official postcards as souvenirs for visitors. Photographs by F.S. Lincoln, an architectural photographer hired on a contract basis in 1935 to take some of the first promotional photos of Colonial Williamsburg exhibition buildings, appeared on a number of real photo postcards issued in the late 1930s. Both examples of postcards bearing his photos, as well as his actual photograph collection, reside at the Rockefeller Library.
The Albertype Company of Brooklyn, New York, produced one of the earliest official postcard series highlighting Colonial Williamsburg exhibition buildings, costumed interpreters, Williamsburg Inn and Lodge, and Merchants Square. In addition to holding numerous examples of Albertype cards, the Rockefeller Library also houses the corresponding photographic prints used to generate the postcards. Albertype cards are characterized by sepia toned images that show exterior and interior views of exhibition buildings, as well as some of the earliest scenes of African Americans in costume demonstrating colonial cooking techniques.
For further information about Williamsburg postcards, please consult:
Preacher, Kristopher J. "Williamsburg in Vintage Postcards." Charleston: Arcadia Publishing, 2002.
Reisweber, Kurt. "Williamsburg in Old Post Cards." Colonial Williamsburg XXI, No.2, (June/July 1999): 52-57.
Subject
The topic of the resource
Postcards - Virginia - Williamsburg
Souvenirs (Keepsakes) - Virginia - Williamsburg - Pictorial works
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
Bruton Parish Church, Williamsburg, Va.
Subject
The topic of the resource
Bruton Parish Church (Williamsburg, Va.)
Block 21. Building 01.
Church architecture - Virginia - Williamsburg
Postcards - Virginia - Williamsburg
Description
An account of the resource
Recto and verso of postcard illustrated with a view of the northeast exterior elevation of Bruton Parish Church. The photo depicts the church prior to the final phases of restoration work in 1939 that brought the exterior back to its 18th-century appearance. The exterior window shutters and louvered window grills on the church tower all disappeared when architects determined that such elements would not have been used on a brick church in colonial Virginia.
The caption reads: "Bruton Parish Church. Built in 1678, and rebuilt in 1715, successor to Middletown Church, established 1632. In the Church can be seen three communion services, viz: The Jamestown Service, George III Service, and the Service presented by Lady Gooch in 1686. Also the Bible presented the Church in 1907 by His Majesty, King Edward VII of England, and the handsome bronze lectern by Ex-President Theodore Roosevelt at the same time."
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. 1930s
Is Part Of
A related resource in which the described resource is physically or logically included.
Postcard Collection
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
AV-99-26-02-R
AV-99-26-02-V
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller Jr. Library, The Colonial Williamsburg Foundation
Brick Walls
Bruton Parish Church
Church Architecture
Clocks
Colonial Architecture
Cruciform
Duke of Gloucester Street
Oculus Windows
Postcards
Round-headed Windows
Steeples
Towers
Virginia
Weathervanes
Williamsburg
-
https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/7d3bc617a81a9ff071186fa3a6991d77.jpg?Expires=1712793600&Signature=FPDCF6s6VyBi966HVvcIyRTeb5D5hXhKF-76oRjay9kWL3nixZdLFRgx8TUVjySzGMJVhGHs8uf6yij298jfmuRkB5PD%7EX2x-PlGVbaH7JqCm4Bo3ly8u4Lw8qT7V46skrtw5ui1Kpb3GXcZRcc7AuNp8SzqE-orzMqiz1wMAPH9EbCv51l3KP9n-a5sujj9OvZT3nkBtpO5xK36lZkvkM0GowoYGvi18adjY2mA5Wpp49hg-OsWe9E0pRMA8PRSwZ-Npn1Gt8Qx5VY2DTm865%7EuHs-pjMlorVGKz4ksGCjio9QMmKZ5hQK3n0q-4Eo3pUuVWm2FowUkjrkhqsQTcw__&Key-Pair-Id=K6UGZS9ZTDSZM
99a1b05396b3b0ec722b20eb21ee4377
https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/03956b878c3aac4c73626f5e0e1524bd.jpg?Expires=1712793600&Signature=vkkl9nA6y8E8xBLSZMuZwhAHJ3QOyefVIaWS1C2lJhTx3qY91WQ%7ExmH3ZI5nbujV0QkxjRHu-jBxA7RXxNblUnfq0By5gCefLhJrSbErURrnpei7dhpDHR87D9CTmpf9iJVJWkqR%7ExVNFhbiwxwrTAiHE4oXFoPxidnB54gnn192k5kW668Oecm0vWq59XdA9EHliwaydILplfyovU%7ERnGJQGJULb%7Eb6yjOM9gEnzd39Yhpzjh2p5CYniMZO1h3SCvrbU7WdUpNxYgJBC2XaM0bRfpx87sz%7EBLaXEOZRE%7EMXhbXjCnTOgUvc4%7EvZ4NUYau2bWc0aOZdHVXJJ3lvPEg__&Key-Pair-Id=K6UGZS9ZTDSZM
6316fcf5fea6edc6ec8d693b9de0ed8d
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Selections from the Postcard Collection
Description
An account of the resource
The Postcard Collection housed at the John D. Rockefeller Jr. Library consists of postcards of Williamsburg and surrounding areas dating from the late 19th-century to the present. It includes examples of early postcards of the town prior to its restoration by John D. Rockefeller Jr. In addition, it encompasses many examples of official postcards produced by Colonial Williamsburg for tourists. A smaller number of postcards of neighboring historic sites, such as Jamestown and Yorktown, are also present.
The selections included here are primarily vintage postcards of Colonial Williamsburg and surrounding tourist attractions ranging in date from 1898 to the 1950s. Early cards in the collection illustrate a range of common postcard types and reproduction techniques. The history of the postcard's development as a souvenir, as well as the growth of tourism in Williamsburg, can be traced via Colonial Williamsburg's Postcard Collection.
During what is known as the Pioneer Era from 1870-1898, the first form of postcard, featuring an illustration on one side and an undivided back on the other, did not allow the sender to include a note, unless it was written across a portion of the image on the front. The majority of pioneering postcard formats served as advertisements up until the 1893 Columbia Exposition, when postcards first appeared as souvenirs for Exposition visitors to purchase.
The Private Mailing Card Era from 1898-1901 is characterized by cards printed with the notice "Private Mailing Card Authorized by Act of Congress on May 19, 1898." Backs of the cards remained undivided and purchasers could mail the cards for a cost of one cent. Several examples of postcards from this era are present in the collection. They include some of the earliest instances of souvenir cards created to promote Williamsburg historic sites, such as the Courthouse, Bruton Parish Church, the Powder Magazine, and the Capitol site. European rather than American printers created many of these postcards due to their superb skills. Chromo-lithograph cards of this era exhibit extremely rich colors.
By the time the Jamestown Exposition took place in 1907, postcard production had entered the Divided Back Era, which continued until 1915. Modified postcard backs offered a segment on the left side for senders to pen a brief message. Production of cards gradually shifted to more American printers. The Jamestown Exposition provided a strong impetus for promotion of other historic sites that attendees might also stop at along the way. A series of postcards commemorating Williamsburg area historic sites in conjunction with the 1907 celebration are excellent examples of very early divided back cards.
The Early Modern Era between 1916-1930 led to an increase in production of souvenir cards relating to the Williamsburg area. One type of format popular in this period is the "White Border Card" characterized by a view surrounded with a white border. Real photo cards also began to appear that featured photographs, rather than prints, of local surroundings. In the era before Colonial Williamsburg operated official gift shops, tourists counted on the Cole News Shop as their source for maps, postcards, travel guides, and souvenirs. Mr. Henry Dennison Cole served as the proprietor. His business stood on the site of the present day Taliaferro-Cole Shop. He produced his own postcards of historic sites in the area being restored by the Association for the Preservation of Virginia Antiquities and other groups of preservation minded citizens. Several examples of cards published by the Cole Shop can be found in the collection and offer a glimpse of attractions popular with early 20th-century tourists, such as the old Masonic Hall and Custis Kitchen.
Once Colonial Williamsburg opened a core group of exhibition buildings to the public in the early 1930s, a new era dawned in which the museum began production of official postcards as souvenirs for visitors. Photographs by F.S. Lincoln, an architectural photographer hired on a contract basis in 1935 to take some of the first promotional photos of Colonial Williamsburg exhibition buildings, appeared on a number of real photo postcards issued in the late 1930s. Both examples of postcards bearing his photos, as well as his actual photograph collection, reside at the Rockefeller Library.
The Albertype Company of Brooklyn, New York, produced one of the earliest official postcard series highlighting Colonial Williamsburg exhibition buildings, costumed interpreters, Williamsburg Inn and Lodge, and Merchants Square. In addition to holding numerous examples of Albertype cards, the Rockefeller Library also houses the corresponding photographic prints used to generate the postcards. Albertype cards are characterized by sepia toned images that show exterior and interior views of exhibition buildings, as well as some of the earliest scenes of African Americans in costume demonstrating colonial cooking techniques.
For further information about Williamsburg postcards, please consult:
Preacher, Kristopher J. "Williamsburg in Vintage Postcards." Charleston: Arcadia Publishing, 2002.
Reisweber, Kurt. "Williamsburg in Old Post Cards." Colonial Williamsburg XXI, No.2, (June/July 1999): 52-57.
Subject
The topic of the resource
Postcards - Virginia - Williamsburg
Souvenirs (Keepsakes) - Virginia - Williamsburg - Pictorial works
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
Postcard
Physical Dimensions
The actual physical size of the original image.
3.5 x 5.5 inches
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Bruton Parish Church, Williamsburg, Virginia
Subject
The topic of the resource
Bruton Parish Church (Williamsburg, Va.)
Block 21. Building 01.
Church architecture - Virginia - Williamsburg
Postcards - Virginia - Williamsburg
Description
An account of the resource
Recto and verso of official Colonial Williamsburg postcard illustrated with a view of the northeast exterior elevation of Bruton Parish Church. Part of a series of cards produced by the Albertype Company to promote Williamsburg as a tourist destination in the 1930s, it shows the church before final restoration work occured in 1939. The exterior shutters, louvered window grills on the church tower, and ivy growing up the walls were all removed in the late 1930s in an effort to bring the exterior back to its 18th-century form.
The caption reads: "The present church was erected in 1710-1715 to replace an earlier church. In its aisles and graveyard are the graves of two colonial governors, three secretaries of state, and many other prominent persons of the colonial period."
Creator
An entity primarily responsible for making the resource
Albertype Co.
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. 1930s
Is Part Of
A related resource in which the described resource is physically or logically included.
Postcard Collection
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
AVPC-427-R
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller Jr. Library, The Colonial Williamsburg Foundation
Albertype Company
Brick Walls
Bruton Parish Church
Clocks
Duke of Goucester Street
Louvered Window Grills
Postcards
Round-headed Windows
Shutters
Steeples
Towers
Virginia
Williamsburg
-
https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/26f80dc809366943d0a6acd573e2c7b0.jpg?Expires=1712793600&Signature=OodzhCwT8NQ38SgtWju2V5uB32aGbwIDz%7EwZlywwl3wb8gx-nvCkSneoyvu493i9L1h5glUuwDu6n6KQ4xKDZE58BVhMcbEbfvCcBRhqB4cEf5b3w1DG4SLLdyvWZl6gkIRYu7AxUox%7Emx2i%7EqVPo4WEN8UzWsKuTTGFSDUXhoYWOmJKS%7EmGqae5hGWazIi8N61EL3jTjQeJ8KxbSB8adChbTF3v798DFmlFRqPLV%7E1pSboj1wNVCI3%7EcLd9vOeXIG6y86W4yzu7aKB9K-NyJXKFPB7WocgJAcceDrbqUZSeJLkgsiDF3KG3bsyT0Lyfx0as1IzXc%7EFsONfcnNcXyQ__&Key-Pair-Id=K6UGZS9ZTDSZM
7de1a2bbfb8058f9f0108b06206cc682
https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/bfec72d4387bfd71c985cb044a21362e.jpg?Expires=1712793600&Signature=COoO-b2slGDRlEUFlxRt2FoSunWlBRvWYzRifeD7UsgB40d%7EQvvqnG4Kw4xL3DE-2Isf30TTJ6Q34GAa-rv-%7ELWqTzvTtJlWHQy%7Ey1rPryFodicwoFS1O8C3eKdeEdbjVXXIBaoqpcefUagfc9TFlNy287eF0TaUyjktLmY707PaP7KxFYAJLYtk%7EDhZShWcts%7E8UE9qxfrijRK8ptjsHhjTUkRgFA2EGIO4DnBP2Zv1azcC6h9FBaQqN7KCpH5bjcHUJqs6A5ztEXb%7EgPVQCUMVsLmMSMUfXQv41oRSTc8feLjT%7ET8Cp0ZA2VvdzjGZbzfiRdbZq3QxqFEr8nTrRg__&Key-Pair-Id=K6UGZS9ZTDSZM
e2c6b62d0791f12280888a21822404bb
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Selections from the Postcard Collection
Description
An account of the resource
The Postcard Collection housed at the John D. Rockefeller Jr. Library consists of postcards of Williamsburg and surrounding areas dating from the late 19th-century to the present. It includes examples of early postcards of the town prior to its restoration by John D. Rockefeller Jr. In addition, it encompasses many examples of official postcards produced by Colonial Williamsburg for tourists. A smaller number of postcards of neighboring historic sites, such as Jamestown and Yorktown, are also present.
The selections included here are primarily vintage postcards of Colonial Williamsburg and surrounding tourist attractions ranging in date from 1898 to the 1950s. Early cards in the collection illustrate a range of common postcard types and reproduction techniques. The history of the postcard's development as a souvenir, as well as the growth of tourism in Williamsburg, can be traced via Colonial Williamsburg's Postcard Collection.
During what is known as the Pioneer Era from 1870-1898, the first form of postcard, featuring an illustration on one side and an undivided back on the other, did not allow the sender to include a note, unless it was written across a portion of the image on the front. The majority of pioneering postcard formats served as advertisements up until the 1893 Columbia Exposition, when postcards first appeared as souvenirs for Exposition visitors to purchase.
The Private Mailing Card Era from 1898-1901 is characterized by cards printed with the notice "Private Mailing Card Authorized by Act of Congress on May 19, 1898." Backs of the cards remained undivided and purchasers could mail the cards for a cost of one cent. Several examples of postcards from this era are present in the collection. They include some of the earliest instances of souvenir cards created to promote Williamsburg historic sites, such as the Courthouse, Bruton Parish Church, the Powder Magazine, and the Capitol site. European rather than American printers created many of these postcards due to their superb skills. Chromo-lithograph cards of this era exhibit extremely rich colors.
By the time the Jamestown Exposition took place in 1907, postcard production had entered the Divided Back Era, which continued until 1915. Modified postcard backs offered a segment on the left side for senders to pen a brief message. Production of cards gradually shifted to more American printers. The Jamestown Exposition provided a strong impetus for promotion of other historic sites that attendees might also stop at along the way. A series of postcards commemorating Williamsburg area historic sites in conjunction with the 1907 celebration are excellent examples of very early divided back cards.
The Early Modern Era between 1916-1930 led to an increase in production of souvenir cards relating to the Williamsburg area. One type of format popular in this period is the "White Border Card" characterized by a view surrounded with a white border. Real photo cards also began to appear that featured photographs, rather than prints, of local surroundings. In the era before Colonial Williamsburg operated official gift shops, tourists counted on the Cole News Shop as their source for maps, postcards, travel guides, and souvenirs. Mr. Henry Dennison Cole served as the proprietor. His business stood on the site of the present day Taliaferro-Cole Shop. He produced his own postcards of historic sites in the area being restored by the Association for the Preservation of Virginia Antiquities and other groups of preservation minded citizens. Several examples of cards published by the Cole Shop can be found in the collection and offer a glimpse of attractions popular with early 20th-century tourists, such as the old Masonic Hall and Custis Kitchen.
Once Colonial Williamsburg opened a core group of exhibition buildings to the public in the early 1930s, a new era dawned in which the museum began production of official postcards as souvenirs for visitors. Photographs by F.S. Lincoln, an architectural photographer hired on a contract basis in 1935 to take some of the first promotional photos of Colonial Williamsburg exhibition buildings, appeared on a number of real photo postcards issued in the late 1930s. Both examples of postcards bearing his photos, as well as his actual photograph collection, reside at the Rockefeller Library.
The Albertype Company of Brooklyn, New York, produced one of the earliest official postcard series highlighting Colonial Williamsburg exhibition buildings, costumed interpreters, Williamsburg Inn and Lodge, and Merchants Square. In addition to holding numerous examples of Albertype cards, the Rockefeller Library also houses the corresponding photographic prints used to generate the postcards. Albertype cards are characterized by sepia toned images that show exterior and interior views of exhibition buildings, as well as some of the earliest scenes of African Americans in costume demonstrating colonial cooking techniques.
For further information about Williamsburg postcards, please consult:
Preacher, Kristopher J. "Williamsburg in Vintage Postcards." Charleston: Arcadia Publishing, 2002.
Reisweber, Kurt. "Williamsburg in Old Post Cards." Colonial Williamsburg XXI, No.2, (June/July 1999): 52-57.
Subject
The topic of the resource
Postcards - Virginia - Williamsburg
Souvenirs (Keepsakes) - Virginia - Williamsburg - Pictorial works
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
Postcard
Physical Dimensions
The actual physical size of the original image.
3.5 x 5.5. inches
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Bruton Parish Church
Subject
The topic of the resource
Bruton Parish Church (Williamsburg, Va.)
Block 21. Building 01.
Church architecture - Virginia - Williamsburg
Postcards - Virginia - Williamsburg
Description
An account of the resource
Recto and verso of postcard official Colonial Williamsburg postcard featuring a photo of the northeast exterior elevation of Bruton Parish Church. The Albertype Co. of Brooklyn, NY produced some of the earliest official postcards for Colonial Williamsburg. This one promoted the church as one of the prominent 18th-century public buildings still standing along Duke of Gloucester Street.
The caption reads: "Burton Parish Church, Williamsburg, Virginia. Court Church of Colonial Virginia. In this building worshipped seven Royal Governors, and the Revolutionary Fathers and early statesmen of Virginia, including Washington, Jefferson, Monroe, Tyler, Henry, Marshall, and many others.
Church work was established here about 1632. The name, Bruton, dates from 1674, at which time the Rev. Rowland Jones, ancestor of Mrs. Washington, was minister. In 1683 the first brick church was built. Williamsburg became the capitol in 1699, and the old church was torn down and the present cruciform structure erected in 1710-15.
The Bell in the Steeple, made in England in 1761, was the first in America to proclaim Civil Independence. The lectern was presented by President Roosevelt, and the bibles by King Edward VII, and President Wilson."
Creator
An entity primarily responsible for making the resource
Albertype Co.
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. 1930s
Is Part Of
A related resource in which the described resource is physically or logically included.
Postcard Collection
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
AV-92-04-16-R
AV-92-04-16-V
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller Jr. Library, The Colonial Williamsburg Foundation
Albertype Company
Brick Walls
Bruton Parish Church
Church Architecture
Clock Towers
Clocks
Duke of Gloucester Street
Louvered Window Grills
Postcards
Round-headed Windows
Steeples
Towers
Virginia
Weathervanes
Williamsburg
-
https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/630a39930e473a902de18274adbc353c.jpg?Expires=1712793600&Signature=dwKBuCsOmbblhVLvU4o6XaIe9sHcXzJfE3-DzAi3-LYD1kcSapOiPnhcbxpAPLhE83j2nBpk2sdCZ7NBw2rqfuJfiPJYgG6BaURCnxBaA7S53IJxqFEI7J82PANUupPatxWuh9W1toAytAbjpKlSn6-odQiHmwW%7E4jjma5lLeiQCdFiDoh8v0r6ZZZuamBlvqZ5P9dz-Z-yFUDLV-r3ndXLejQf3MpEqxV%7EO2e17hHRj4She7xPkSLKihANSmjXXQunt3coCrOs%7ENT84X4PcyyrWploy35fuO%7EFX0PflFXHxRDim8pusmY9GmEt6ILLWqLwrOg6tPc8RW1183qNt0g__&Key-Pair-Id=K6UGZS9ZTDSZM
0ee5227fda5b2389a82219b6c2e37177
https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/3de3a48a92cdf69e0bb4dcef395984cc.jpg?Expires=1712793600&Signature=FM-gqlnzfQbGHkQKUD-TXJLMSHaAK8gdVtMAEZCKPl3gb3mgglFXqZhvOXswfjWbQ83F2vYVbSlxiY4rCgb4c0g7QF6zRqBAc2xqqMGFrmVS9Lqi2MRmXDi6Y8aXWaBc7uYTi4cFTLXhjEIyTnXJRust873eGqXe5FyGM1Xk%7EGwnRUyjTAE-l648VXdDCmw7goCl4NsrhcMkLpmjZgYsSWEkpT%7ELe7xYMOT7SFGuuOLaSOj80y1bzupHyk-YUTBhc6-MDPJl%7Es4YHMJOBVBQcGBDo4GHPQ7FMtM0RkEjHtlskkk5QrfkZxxzVzZJ-EMT4%7EbyzAXGAlFDYvlWcuhNnw__&Key-Pair-Id=K6UGZS9ZTDSZM
c7bab61fb4900f3ac11f449009dd6e83
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Selections from the Postcard Collection
Description
An account of the resource
The Postcard Collection housed at the John D. Rockefeller Jr. Library consists of postcards of Williamsburg and surrounding areas dating from the late 19th-century to the present. It includes examples of early postcards of the town prior to its restoration by John D. Rockefeller Jr. In addition, it encompasses many examples of official postcards produced by Colonial Williamsburg for tourists. A smaller number of postcards of neighboring historic sites, such as Jamestown and Yorktown, are also present.
The selections included here are primarily vintage postcards of Colonial Williamsburg and surrounding tourist attractions ranging in date from 1898 to the 1950s. Early cards in the collection illustrate a range of common postcard types and reproduction techniques. The history of the postcard's development as a souvenir, as well as the growth of tourism in Williamsburg, can be traced via Colonial Williamsburg's Postcard Collection.
During what is known as the Pioneer Era from 1870-1898, the first form of postcard, featuring an illustration on one side and an undivided back on the other, did not allow the sender to include a note, unless it was written across a portion of the image on the front. The majority of pioneering postcard formats served as advertisements up until the 1893 Columbia Exposition, when postcards first appeared as souvenirs for Exposition visitors to purchase.
The Private Mailing Card Era from 1898-1901 is characterized by cards printed with the notice "Private Mailing Card Authorized by Act of Congress on May 19, 1898." Backs of the cards remained undivided and purchasers could mail the cards for a cost of one cent. Several examples of postcards from this era are present in the collection. They include some of the earliest instances of souvenir cards created to promote Williamsburg historic sites, such as the Courthouse, Bruton Parish Church, the Powder Magazine, and the Capitol site. European rather than American printers created many of these postcards due to their superb skills. Chromo-lithograph cards of this era exhibit extremely rich colors.
By the time the Jamestown Exposition took place in 1907, postcard production had entered the Divided Back Era, which continued until 1915. Modified postcard backs offered a segment on the left side for senders to pen a brief message. Production of cards gradually shifted to more American printers. The Jamestown Exposition provided a strong impetus for promotion of other historic sites that attendees might also stop at along the way. A series of postcards commemorating Williamsburg area historic sites in conjunction with the 1907 celebration are excellent examples of very early divided back cards.
The Early Modern Era between 1916-1930 led to an increase in production of souvenir cards relating to the Williamsburg area. One type of format popular in this period is the "White Border Card" characterized by a view surrounded with a white border. Real photo cards also began to appear that featured photographs, rather than prints, of local surroundings. In the era before Colonial Williamsburg operated official gift shops, tourists counted on the Cole News Shop as their source for maps, postcards, travel guides, and souvenirs. Mr. Henry Dennison Cole served as the proprietor. His business stood on the site of the present day Taliaferro-Cole Shop. He produced his own postcards of historic sites in the area being restored by the Association for the Preservation of Virginia Antiquities and other groups of preservation minded citizens. Several examples of cards published by the Cole Shop can be found in the collection and offer a glimpse of attractions popular with early 20th-century tourists, such as the old Masonic Hall and Custis Kitchen.
Once Colonial Williamsburg opened a core group of exhibition buildings to the public in the early 1930s, a new era dawned in which the museum began production of official postcards as souvenirs for visitors. Photographs by F.S. Lincoln, an architectural photographer hired on a contract basis in 1935 to take some of the first promotional photos of Colonial Williamsburg exhibition buildings, appeared on a number of real photo postcards issued in the late 1930s. Both examples of postcards bearing his photos, as well as his actual photograph collection, reside at the Rockefeller Library.
The Albertype Company of Brooklyn, New York, produced one of the earliest official postcard series highlighting Colonial Williamsburg exhibition buildings, costumed interpreters, Williamsburg Inn and Lodge, and Merchants Square. In addition to holding numerous examples of Albertype cards, the Rockefeller Library also houses the corresponding photographic prints used to generate the postcards. Albertype cards are characterized by sepia toned images that show exterior and interior views of exhibition buildings, as well as some of the earliest scenes of African Americans in costume demonstrating colonial cooking techniques.
For further information about Williamsburg postcards, please consult:
Preacher, Kristopher J. "Williamsburg in Vintage Postcards." Charleston: Arcadia Publishing, 2002.
Reisweber, Kurt. "Williamsburg in Old Post Cards." Colonial Williamsburg XXI, No.2, (June/July 1999): 52-57.
Subject
The topic of the resource
Postcards - Virginia - Williamsburg
Souvenirs (Keepsakes) - Virginia - Williamsburg - Pictorial works
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
Postcard
Physical Dimensions
The actual physical size of the original image.
3.5 x 5.5 inches
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Bruton Parish Church, Oldest Church in Constant Use in America, Williamsburg, Va.
Subject
The topic of the resource
Bruton Parish Church (Williamsburg, Va.)
Block 21. Building 01.
Church architecture - Virginia - Williamsburg
Postcards - Virginia - Williamsburg
Description
An account of the resource
Recto and verso of postcard illustrated with a view of the northwest exterior elevation of Bruton Parish Church. The card pre-dates the 1939 restoration of the church which led to the removal of such features as the exterior window shutters and louvered window grills on the tower.
The caption reads: "Built in 1710. Where Washington worshipped in 1781. The Parish dates back from 1632. Four presidents of the United States have worshipped within its walls. The bell which hangs in the tower was made in England and presented to the church in 1761 and summoned the patriots together in Revolutionary Times."
Creator
An entity primarily responsible for making the resource
Louis Kaufmann & Sons
Is Part Of
A related resource in which the described resource is physically or logically included.
Postcard Collection
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
AV-2003-06-16-R
AV-2003-06-16-V
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller Jr. Library, The Colonial Williamsburg Foundation
Date
A point or period of time associated with an event in the lifecycle of the resource
Pre-1939
Brick Walls
Brickwork
Bruton Parish Church
Church Architecture
Colonial Architecture
Duke of Gloucester Street
Gates
Louis Kaufmann & Sons
Louvered Window Grills
Oculus Windows
Postcards
Round-headed Windows
Shutters
Steeples
Towers
Virginia
Williamsburg