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Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
Bit Depth
8
Channels
1
Height
768
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
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
Palace Green
Subject
The topic of the resource
Governor's Palace (Williamsburg, Va.)
Historic buildings-Virginia-Williamsburg
Public buildings-Virginia-Williamsburg
Block 20. Building 03A.
Description
An account of the resource
The vista south along Palace Green is a feature mentioned by Thomas Jefferson who noted that native American catalpa trees were planted along the sides. The open space continues south of Duke of Gloucester Street on what Benjamin Bucktrout's map of 1800 labels as King Street.
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>
Is Part Of
A related resource in which the described resource is physically or logically included.
F.S. Lincoln Photography 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
LC327P44
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
Carriages
Catalpa Trees
Catawba Trees
Coachmen
Costumed Interpreters
F.S. Lincoln
Gardens
Gates
Governor's Palace
Historic Buildings
Hitching Posts
Horses
Hostesses
Lions
Palace Green
Palace Street
Public Buildings
Royal Coats of Arms
Unicorns
Virginia
Williamsburg
-
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Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
Bit Depth
8
Channels
1
Height
768
Width
605
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
Capitol building, exterior, western view from Duke of Gloucester Street
Subject
The topic of the resource
Block 08. Building 11.
Capitol Building (Williamsburg, Va.)
Historic buildings -- Virginia -- Williamsburg
Public buildings -- Virginia -- Williamsburg
Description
An account of the resource
Exterior of the Capitol building, western facade, viewed from Duke of Gloucester Street, 1935. The Capitol building stands in the background, behind a brick wall and western entry gate. The western facade highlights a second-floor balcony with wrought-iron railing, as well as the clock tower and cupola. Duke of Gloucester Street is featured in the foreground, where a carriage awaits with coachmen and horses.
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
LC325P30
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation
Balconies
Belt Courses
Brick Walls
Bull's-Eye Windows
Capitol
Carriages
Clock Towers
Clocks
Coachmen
Cupolas
Dormer Windows
Dormers
Duke of Gloucester Street
Exteriors
F.S. Lincoln
Flags
Gates
Historic Buildings
Oculus Windows
Paper Mulberry Trees
Public Buildings
Round-headed Windows
Stringcourses
Virginia
Weather Vanes
Williamsburg
-
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Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
Bit Depth
8
Channels
3
Height
768
Width
971
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
F.S. Lincoln Photography Collection
Description
An account of the resource
The FS Lincoln Collection
Biographical Sketch
Mr. Fay S. Lincoln (known professionally as F.S. Lincoln) operated a photography studio in New York City from the 1930s until the mid 1960s. He was born in Keene, New Hampshire in 1894 and attended the Massachusetts Institute of Technology. Although he received training as an engineer, Mr. Lincoln chose to become a professional photographer in 1929, when he opened the firm of Nyholm & 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, Front Gate
Subject
The topic of the resource
Block 20. Building 03.
Governor's Palace (Williamsburg, Va.)
Historic buildings -- Virginia -- Williamsburg
Public buildings -- Virginia -- Williamsburg
Description
An account of the resource
Exterior of Governor's Palace, view of front gate, 1935. A female costumed interpreter (once called a "hostess") stands in a gown at the front gate, while a carriage drawn by two horses stands in the front drive. Two male costumed interpreters, representing an enslaved coachman and footman, wait with the carriage.
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
LC327P42
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation
Advance Buildings
Carriages
Chimneys
Costumed Interpreters
Dormers
F.S. Lincoln
Gates
Governor's Palace
Historic Buildings
Horses
Hostesses
Lions
Outbuildings
Palace Green
Palace Street
Public Buildings
Unicorns
Virginia
Williamsburg
-
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Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
Bit Depth
8
Channels
3
Height
768
Width
978
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, Entrance and Green
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
<p>Overhead view of the Palace Green, looking south from the Governor's Palace, 1935. Palace Street rings the Green. Formal gardens are visible in the forecourt of the Palace, while a carriage drawn by two horses stands outside the front gate. Two male costumed interpreters, representing enslaved coachmen, wait with the carriage.</p>
<p>The long, broad expanse of the Green, lined on either side by catalpa trees (also known as catawba trees), creates an impressive vista and impression of grandeur upon approach to the Palace. "Palace Green was intended to focus the eye as well as the mind on the source of executive authority in Virginia and to provide the stately official residence at its head with an unimpeded vista to the heart of the community and beyond."</p>
<p>(Source: Colonial Williamsburg Foundation website, "See the Places: Historic Sites and buildings: Palace Green," http://www.history.org/almanack/places/hb/hbpalgr.cfm)</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
LC327P45
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation
Boxwood
Carriages
Coachmen
Costumed Interpreters
F.S. Lincoln
Forecourt
Gardens
Gates
Governor's Palace
Historic Buildings
Lions
Palace Green
Palace Street
Public Buildings
Unicorns
Virginia
Williamsburg
-
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572e100de0cf30996bce58d63537a3c2
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
606
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, Entrance and Green
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
<p>Overhead view of the Palace Green, looking south through a window of the Governor's Palace. Palace Street rings the Green. At the front gate of the Palace stands a gowned female costumed interpreter (once referred to as a "hostess"), while a carriage drawn by two horses stands in the front drive. Two male costumed interpreters, representing enslaved coachmen, wait with the carriage.</p>
<p>The long, broad expanse of the Green, lined on either side by catalpa trees (also known as catawba trees), creates an impressive vista and impression of grandeur upon approach to the Palace. "Palace Green was intended to focus the eye as well as the mind on the source of executive authority in Virginia and to provide the stately official residence at its head with an unimpeded vista to the heart of the community and beyond."</p>
<p>(Source: Colonial Williamsburg Foundation website, "See the Places: Historic Sites and buildings: Palace Green," http://www.history.org/almanack/places/hb/hbpalgr.cfm)</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
LC327P46
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation
Boxwood
Carriages
Coachmen
Costumed Interpreters
F.S. Lincoln
Forecourt
Gardens
Gates
Governor's Palace
Historic Buildings
Hostesses
Lions
Palace Green
Palace Street
Public Buildings
Unicorns
Virginia
Williamsburg
-
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Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
Bit Depth
8
Channels
1
Height
768
Width
514
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
Ludwell-Paradise House, View from Door
Subject
The topic of the resource
Ludwell-Paradise House (Williamsburg, Va.)
Block 18-1. Building 07.
Architecture, Domestic - Virginia - Williamsburg
Architecture, Colonial - Virginia - Williamsburg
Historic buildings - Virginia - Williamsburg
Description
An account of the resource
View through the front door of the Ludwell-Paradise House of a carriage awaiting a passenger, 1935. The front elevation of the George Reid House is visible across Duke of Gloucester Street.
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
LC334P6
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller, Jr, Library, The Colonial Williamsburg Foundation
Carriages
Chimneys
Coachmen
Colonial Architecture
Costumed Interpreters
Domestic Architecture
Doors
F.S. Lincoln
Fences
Footmen
George Reid House
Horses
Hostesses
Ludwell-Paradise House
Railings
Shutters
Stairs
Transoms
Virginia
Williamsburg
-
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Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
Bit Depth
8
Channels
3
Height
768
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527
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.
31.5 x 45.5 cm
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Governor's Palace, Entrance Gate
Subject
The topic of the resource
Governor's Palace (Williamsburg, Va.)
Block 20. Building 03A.
Historic Buildings - Virginia - Williamsburg
Public Buildings - Virginia - Williamsburg
Architecture, Colonial – Virginia – Williamsburg
Description
An account of the resource
<p>Exterior of the Governor's Palace, looking out through the front gate at the arrival of a carriage and costumed interpreters, 1933. “The Governor’s Palace was an important element in [Williamsburg’s] great civic design. Sited at the end of a broad, imposing green, the governor’s residence terminated in the primary north-south axis of the town. The high visibility and symmetrical formality of this complex did much to reinforce the importance of the governorship in the eyes of Virginians.” Construction began on the Governor’s Palace in 1706 under Governor Edward Nott, and finished in 1722 under Governor Alexander Spotswood. In the early 1750s, Governor Robert Dinwiddie commissioned the construction of a Ballroom Wing addition behind the Palace.</p>
<p>(Source: Michael Olmert and Suzanne Coffman, <em>Official Guide to Colonial Williamsburg</em> [Williamsburg, VA: The Colonial Williamsburg Foundation, 2007], 88-89).</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-1014-1024
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
Carriages
Chimneys
Coachmen
Colonial Architecture
Costumed Interpreters
Cupolas
Dormer Windows
Dormers
F.S. Lincoln
Gates
Historic Buildings
Hitching Posts
Hostesses
Lions
Men
Palace Street
Public Buildings
Thomas Mott Shaw
Unicorns
Virginia
Williamsburg
Women
Wrought Iron
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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.
5.5 x 3.5 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 Colonial Capitol of Virginia, Williamsburg, Virginia
Subject
The topic of the resource
Capitol (Williamsburg, Va.)
Block 08. Building 11.
Public buildings - Virginia - Williamsburg
Historic buildings - Virginia - Williamsburg
Postcards - Virginia - Williamsburg
Description
An account of the resource
Postcard depicting a horse-drawn carriage passing by the reconstructed Capitol at Colonial Williamsburg, produced by The Albertype Company, Brooklyn, NY, and published by John A. Luttrell, Williamsburg, VA, ca. 1930s.
The caption reads: "The Colonial Capitol of Virginia, Williamsburg, Virginia. This is an authentic reconstruction of the Capitol of the Virginia Colony which was erected in 1705. Here many of the acts and resolutions were adopted which brough about the American Revolution. Here Patrick Henry made his Caesar-Brutus speech. The building has been rebuilt upon its original foundations and is open to the public."
Creator
An entity primarily responsible for making the resource
Albertype Co.
Publisher
An entity responsible for making the resource available
John A. Luttrell
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. 1930s
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
AV-2000-02-88-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
Capitol
Carriages
Costumed Interpreters
Horses
John A. Luttrell
Paper Mulberry Trees
Postcards
Public Buildings
Virginia
Williamsburg
-
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Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
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IPTC String
caption:Recto of postcard depicting a sketch of the exterior of the Richard Bland Tavern, Williamsburg, Va., published by The Collotype Co., ca.1930s, accession # AV-2001.9, 4.
caption_writer:Marianne Martin
object_name:AV-2001-09-04-R
keyword:Richard Bland Tavern, Wetherburn's Tavern, Postcards
copyright_notice:Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation
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IPTC String
caption:Verso of postcard depicting a sketch of the exterior of the Richard Bland Tavern, Williamsburg, Va., published by The Collotype Co., ca.1930s, accession # AV-2001.9, 4.
caption_writer:Marianne Martin
object_name:AV-2001-09-04-V
keyword:Richard Bland Tavern, Wetherburn's Tavern, Postcards
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Selections from the Postcard Collection
Description
An account of the resource
The Postcard Collection housed at the John D. Rockefeller Jr. Library consists of postcards of Williamsburg and surrounding areas dating from the late 19th-century to the present. It includes examples of early postcards of the town prior to its restoration by John D. Rockefeller Jr. In addition, it encompasses many examples of official postcards produced by Colonial Williamsburg for tourists. A smaller number of postcards of neighboring historic sites, such as Jamestown and Yorktown, are also present.
The selections included here are primarily vintage postcards of Colonial Williamsburg and surrounding tourist attractions ranging in date from 1898 to the 1950s. Early cards in the collection illustrate a range of common postcard types and reproduction techniques. The history of the postcard's development as a souvenir, as well as the growth of tourism in Williamsburg, can be traced via Colonial Williamsburg's Postcard Collection.
During what is known as the Pioneer Era from 1870-1898, the first form of postcard, featuring an illustration on one side and an undivided back on the other, did not allow the sender to include a note, unless it was written across a portion of the image on the front. The majority of pioneering postcard formats served as advertisements up until the 1893 Columbia Exposition, when postcards first appeared as souvenirs for Exposition visitors to purchase.
The Private Mailing Card Era from 1898-1901 is characterized by cards printed with the notice "Private Mailing Card Authorized by Act of Congress on May 19, 1898." Backs of the cards remained undivided and purchasers could mail the cards for a cost of one cent. Several examples of postcards from this era are present in the collection. They include some of the earliest instances of souvenir cards created to promote Williamsburg historic sites, such as the Courthouse, Bruton Parish Church, the Powder Magazine, and the Capitol site. European rather than American printers created many of these postcards due to their superb skills. Chromo-lithograph cards of this era exhibit extremely rich colors.
By the time the Jamestown Exposition took place in 1907, postcard production had entered the Divided Back Era, which continued until 1915. Modified postcard backs offered a segment on the left side for senders to pen a brief message. Production of cards gradually shifted to more American printers. The Jamestown Exposition provided a strong impetus for promotion of other historic sites that attendees might also stop at along the way. A series of postcards commemorating Williamsburg area historic sites in conjunction with the 1907 celebration are excellent examples of very early divided back cards.
The Early Modern Era between 1916-1930 led to an increase in production of souvenir cards relating to the Williamsburg area. One type of format popular in this period is the "White Border Card" characterized by a view surrounded with a white border. Real photo cards also began to appear that featured photographs, rather than prints, of local surroundings. In the era before Colonial Williamsburg operated official gift shops, tourists counted on the Cole News Shop as their source for maps, postcards, travel guides, and souvenirs. Mr. Henry Dennison Cole served as the proprietor. His business stood on the site of the present day Taliaferro-Cole Shop. He produced his own postcards of historic sites in the area being restored by the Association for the Preservation of Virginia Antiquities and other groups of preservation minded citizens. Several examples of cards published by the Cole Shop can be found in the collection and offer a glimpse of attractions popular with early 20th-century tourists, such as the old Masonic Hall and Custis Kitchen.
Once Colonial Williamsburg opened a core group of exhibition buildings to the public in the early 1930s, a new era dawned in which the museum began production of official postcards as souvenirs for visitors. Photographs by F.S. Lincoln, an architectural photographer hired on a contract basis in 1935 to take some of the first promotional photos of Colonial Williamsburg exhibition buildings, appeared on a number of real photo postcards issued in the late 1930s. Both examples of postcards bearing his photos, as well as his actual photograph collection, reside at the Rockefeller Library.
The Albertype Company of Brooklyn, New York, produced one of the earliest official postcard series highlighting Colonial Williamsburg exhibition buildings, costumed interpreters, Williamsburg Inn and Lodge, and Merchants Square. In addition to holding numerous examples of Albertype cards, the Rockefeller Library also houses the corresponding photographic prints used to generate the postcards. Albertype cards are characterized by sepia toned images that show exterior and interior views of exhibition buildings, as well as some of the earliest scenes of African Americans in costume demonstrating colonial cooking techniques.
For further information about Williamsburg postcards, please consult:
Preacher, Kristopher J. "Williamsburg in Vintage Postcards." Charleston: Arcadia Publishing, 2002.
Reisweber, Kurt. "Williamsburg in Old Post Cards." Colonial Williamsburg XXI, No.2, (June/July 1999): 52-57.
Subject
The topic of the resource
Postcards - Virginia - Williamsburg
Souvenirs (Keepsakes) - Virginia - Williamsburg - Pictorial works
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
Postcard
Physical Dimensions
The actual physical size of the original image.
3 x 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
Richard Bland Tavern
Subject
The topic of the resource
Wetherburn's Tavern (Williamsburg, Va.)
Block 09. Building 31.
Taverns - Virginia - Williamsburg
Postcards - Virginia - Williamsburg
Description
An account of the resource
Recto and verso of postcard featuring a drawing of the exterior of the Richard Bland Tavern publlished by The Collotype Co.
Early visitors to Colonial Williamsburg could dine, lodge, and purchase souvenirs and antiques at the Richard Bland Tavern. This postcard formed part of a set that visitors most likely could find in the tavern gift shop.
Creator
An entity primarily responsible for making the resource
The Collotype Co.
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. 1930s
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.
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
AV2001-09-04-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
Carriages
Drawings
Horses
Postcards
Richard Bland Tavern
Taverns
Virginia
Wetherburn's Tavern
Williamsburg
-
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Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
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IPTC String
caption:Recto of postcard titled "Colonial Coach at the Gates of the Governor's Palace in Williamsburg," published by the Albertype Co., Brooklyn, NY, ca.1930s, accession # 2002.9, 5.
caption_writer:Marianne Martin
object_name:AV-2002-09-05-R
keyword:Carriages, Coaches, Governor's Palace, Postcards, Albertype Co., Gates
copyright_notice:Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation
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Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
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IPTC String
caption:Verso of postcard titled "Colonial Coach at the Gates of the Governor's Palace in Williamsburg," published by the Albertype Co., Brooklyn, NY, ca.1930s, accession # 2002.9, 5.
caption_writer:Marianne Martin
object_name:AV-2002-09-05-V
keyword:Carriages, Coaches, Governor's Palace, Gates, Postcards, Albertype Co.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Selections from the Postcard Collection
Description
An account of the resource
The Postcard Collection housed at the John D. Rockefeller Jr. Library consists of postcards of Williamsburg and surrounding areas dating from the late 19th-century to the present. It includes examples of early postcards of the town prior to its restoration by John D. Rockefeller Jr. In addition, it encompasses many examples of official postcards produced by Colonial Williamsburg for tourists. A smaller number of postcards of neighboring historic sites, such as Jamestown and Yorktown, are also present.
The selections included here are primarily vintage postcards of Colonial Williamsburg and surrounding tourist attractions ranging in date from 1898 to the 1950s. Early cards in the collection illustrate a range of common postcard types and reproduction techniques. The history of the postcard's development as a souvenir, as well as the growth of tourism in Williamsburg, can be traced via Colonial Williamsburg's Postcard Collection.
During what is known as the Pioneer Era from 1870-1898, the first form of postcard, featuring an illustration on one side and an undivided back on the other, did not allow the sender to include a note, unless it was written across a portion of the image on the front. The majority of pioneering postcard formats served as advertisements up until the 1893 Columbia Exposition, when postcards first appeared as souvenirs for Exposition visitors to purchase.
The Private Mailing Card Era from 1898-1901 is characterized by cards printed with the notice "Private Mailing Card Authorized by Act of Congress on May 19, 1898." Backs of the cards remained undivided and purchasers could mail the cards for a cost of one cent. Several examples of postcards from this era are present in the collection. They include some of the earliest instances of souvenir cards created to promote Williamsburg historic sites, such as the Courthouse, Bruton Parish Church, the Powder Magazine, and the Capitol site. European rather than American printers created many of these postcards due to their superb skills. Chromo-lithograph cards of this era exhibit extremely rich colors.
By the time the Jamestown Exposition took place in 1907, postcard production had entered the Divided Back Era, which continued until 1915. Modified postcard backs offered a segment on the left side for senders to pen a brief message. Production of cards gradually shifted to more American printers. The Jamestown Exposition provided a strong impetus for promotion of other historic sites that attendees might also stop at along the way. A series of postcards commemorating Williamsburg area historic sites in conjunction with the 1907 celebration are excellent examples of very early divided back cards.
The Early Modern Era between 1916-1930 led to an increase in production of souvenir cards relating to the Williamsburg area. One type of format popular in this period is the "White Border Card" characterized by a view surrounded with a white border. Real photo cards also began to appear that featured photographs, rather than prints, of local surroundings. In the era before Colonial Williamsburg operated official gift shops, tourists counted on the Cole News Shop as their source for maps, postcards, travel guides, and souvenirs. Mr. Henry Dennison Cole served as the proprietor. His business stood on the site of the present day Taliaferro-Cole Shop. He produced his own postcards of historic sites in the area being restored by the Association for the Preservation of Virginia Antiquities and other groups of preservation minded citizens. Several examples of cards published by the Cole Shop can be found in the collection and offer a glimpse of attractions popular with early 20th-century tourists, such as the old Masonic Hall and Custis Kitchen.
Once Colonial Williamsburg opened a core group of exhibition buildings to the public in the early 1930s, a new era dawned in which the museum began production of official postcards as souvenirs for visitors. Photographs by F.S. Lincoln, an architectural photographer hired on a contract basis in 1935 to take some of the first promotional photos of Colonial Williamsburg exhibition buildings, appeared on a number of real photo postcards issued in the late 1930s. Both examples of postcards bearing his photos, as well as his actual photograph collection, reside at the Rockefeller Library.
The Albertype Company of Brooklyn, New York, produced one of the earliest official postcard series highlighting Colonial Williamsburg exhibition buildings, costumed interpreters, Williamsburg Inn and Lodge, and Merchants Square. In addition to holding numerous examples of Albertype cards, the Rockefeller Library also houses the corresponding photographic prints used to generate the postcards. Albertype cards are characterized by sepia toned images that show exterior and interior views of exhibition buildings, as well as some of the earliest scenes of African Americans in costume demonstrating colonial cooking techniques.
For further information about Williamsburg postcards, please consult:
Preacher, Kristopher J. "Williamsburg in Vintage Postcards." Charleston: Arcadia Publishing, 2002.
Reisweber, Kurt. "Williamsburg in Old Post Cards." Colonial Williamsburg XXI, No.2, (June/July 1999): 52-57.
Subject
The topic of the resource
Postcards - Virginia - Williamsburg
Souvenirs (Keepsakes) - Virginia - Williamsburg - Pictorial works
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
Postcard
Physical Dimensions
The actual physical size of the original image.
3 x 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
Williamsburg, Virginia: Colonial Coach at the Gates of the Governor's Palace
Subject
The topic of the resource
Governor's Palace (Williamsburg, Va.)
Block 20. Building 03.
Albertype Co.
Carriages & coaches - Virginia - Williamsburg
Description
An account of the resource
Recto and verso of Colonial Williamsburg postcard published by The Albertype Co. in the 1930s. It features a horse-drawn carriage positioned in front of the entrance gate of the Governor's Palace. The east Advance Building is visible in the background.
The Albertype Co. of Brooklyn, NY produced some of the earliest official postcards for Colonial Williamsburg. This one promoted the newly reconstructed Governor's Palace after it opened as an exhibition building on April 22, 1934.
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
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.
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-2002-09-05-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
Advance Buildings
Albertype Company
Carriages
Coaches
Coachmen
Gates
Governor's Palace
Horses
Postcards
-
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8d9ad653f5970df31bc6d77816e34937
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
Palace Green Viewed from the Governor's Palace
Subject
The topic of the resource
Governor's Palace (Williamsburg, Va.)
Block 20. Building 03.
Historic buildings - Virginia - Williamsburg
Public buildings - Virginia - Williamsburg
Description
An account of the resource
Hand-colored lantern slide featuring photo of Palace Green taken by F.S. Lincoln from a second floor window in the Governor's Palace in 1935. It is the fortieth 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.
Overhead view of the Palace Green, looking south through a window of the Governor's Palace. Palace Street rings the Green. At the front gate of the Palace stands a gowned female costumed interpreter (once referred to as a "hostess"), while a carriage drawn by two horses stands in the front drive. Two male costumed interpreters, representing enslaved coachmen, wait with the carriage.
The long, broad expanse of the Green, lined on either side by catalpa trees (also known as catawba trees), creates an impressive vista and impression of grandeur upon approach to the Palace. "Palace Green was intended to focus the eye as well as the mind on the source of executive authority in Virginia and to provide the stately official residence at its head with an unimpeded vista to the heart of the community and beyond."
(Source: Colonial Williamsburg Foundation website, "See the Places: Historic Sites and buildings: Palace Green," http://www.history.org/almanack/places/hb/hbpalgr.cfm)
Creator
An entity primarily responsible for making the resource
Lincoln, F.S.
Publisher
An entity responsible for making the resource available
Pacific Stereopticon Company
Date
A point or period of time associated with an event in the lifecycle of the resource
1935
Identifier
An unambiguous reference to the resource within a given context
PSC-040
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller Jr. Library, The Colonial Williamsburg Foundation
Format
The file format, physical medium, or dimensions of the resource
jpeg
Type
The nature or genre of the resource
Image
Carriages
Catalpa Trees
Costumed Interpreters
F.S. Lincoln
Gates
Governor's Palace
Horses
Hostesses
Lantern Slides
Lions
Pacific Stereopticon Company
Palace Green
Unicorns
Windows
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b2e489652e96aeeb1192ca606892eaa6
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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
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eef3b2917e0490d6734ea2710ebb1434
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
Distinguished Visitors to Colonial Williamsburg
Subject
The topic of the resource
Visitors, Foreign
Presidents - United States
Celebrities - United States
Entertainers - United States
Kings, queens, rulers etc.
Statesmen
Gelatin silver prints
Color slides
Description
An account of the resource
<p>Colonial Williamsburg has played host to numerous distinguished visitors in the form of foreign dignitaries and heads of state, royalty, musicians, actors, and writers. A significant series within Colonial Williamsburg's official archive of photos taken by staff photographers, the distinguished visitor images offer a fascinating glimpse into many historic occasions and special events that took place within the living history museum. A selection is offered here to give researchers a sense of the scope of the subjects represented.</p>
<p>Government officials, actors, and even sports stars, began arriving at Colonial Williamsburg soon after the museum opened its first exhibition buildings in the 1930s. President Franklin D. Roosevelt dedicated Duke of Gloucester Street in 1934 becoming the first United States president to experience its beauty and historical significance.<sup>1</sup> The completion of the Williamsburg Inn and Williamsburg Lodge offered gracious accommodations to attract other well-known guests. Child actress Shirley Temple celebrated her birthday in Williamsburg in 1938, while tennis star Helen Hull Jacobs registered as the first occupant at the Williamsburg Lodge in 1939.<sup>2</sup></p>
<p>During World War II, trips to Colonial Williamsburg served as a form of indoctrination for servicemen from neighboring military bases. Troops watched orientation films, attended lectures, and toured the Historic Area as a way to remind them of what they were going overseas to fight for.<sup>3</sup> In 1946, British Prime Minister Winston Churchill and General Dwight D. Eisenhower arrived for a post-war visit to Colonial Williamsburg that included drinks at the Raleigh Tavern, a tour of several exhibition buildings, and a special dinner at the Williamsburg Inn.<sup>4</sup></p>
<p>The late 1940s marked the beginning of a steady stream of visits by foreign dignitaries. The United States Department of State began a custom of bringing foreign heads of state down from Washington, D.C. as part of their official visits to the United States. As a result, Colonial Williamsburg began expanding its focus to embrace a more international audience and celebrate some of the timeless democratic ideals embodied in the historic events that took place in colonial Virginia.<sup>5</sup> The growing living history museum also attracted the attention of Walt Disney, who visited in 1948 and offered his perspectives and ideas on the museum's operations.<sup>6</sup></p>
<p>During the 1950s, a standard protocol for VIP visits encompassed trips to Jamestown, Colonial Williamsburg, and Yorktown. Foreign visitors received a rapid overview of American history and ideals as a form of education by State Department officials. <sup>7</sup> Queen Elizabeth II's royal visit for the 250th anniversary of the arrival of settlers at Jamestown marked an important initial step towards strengthening ties between Great Britain and Colonial Williamsburg.<sup>8</sup> A succession of British dignitaries, ranging from the Lord Mayor of London to the Prince of Wales, followed.</p>
<p>Colonial Williamsburg President Carlisle Humelsine used his former State Department connections to turn Colonial Williamsburg into what many dubbed "State Department South." He oversaw over one hundred visits by foreign dignitaries who came to the area as part of official State Department itineraries. The typical visit during the Humelsine era included a carriage ride, along with stops at major exhibition buildings, such as the Capitol and the Palace, as well as one or two of the trade shops.<sup>9</sup></p>
<p>The 1960s and 1970s also witnessed a number of television stars descending upon Colonial Williamsburg with their accompanying production crews. Animal star Lassie performed in several scenes around the Historic Area as part of a larger travel series for his popular television show. Perry Como and John Wayne explored many aspects of Colonial Williamsburg during the filming of Perry Como's Early American Christmas in 1978.<sup>10</sup></p>
<p>Visits by foreign heads of state culminated in the 1980s when Ronald Reagan hosted the Ninth Economic Summit of Industrialized Nations at Colonial Williamsburg. The unprecedented closure of the entire Historic Area for the weekend in May 1983 marked a gamble on the part of Colonial Williamsburg officials to generate more international interest via the three thousand journalists covering the event. <sup>11</sup> Participants included Prime Minister Margaret Thatcher of the United Kingdom, Prime Minister Yasuhiro Nakasone of Japan, Prime Minister Amintore Fanfani of Italy, Prime Minister Elliot Trudeau of Canada, Chancellor Helmut Kohl of Germany, and President Francois Mitterand of France. Opera singer Leontyne Price also contributed to the event's pageantry by performing at one of the state dinners.<sup>12</sup></p>
<p>In the decades which followed, a combination of actors, entertainers, sports stars, political candidates, and government leaders continued to visit in a steady stream of both official and "undercover" appearances. Two of the more high profile dignitaries included President Zhang Zemin of China in 1997 and a return visit of Queen Elizabeth II in 2007. Whether drawing large crowds or simply enjoying the peaceful charm with a few friends or Colonial Williamsburg escorts, each visitor has left their mark in the form of a fascinating legacy of photos.</p>
Endnotes: <br />(1) Donald J. Gonzalez, The Rockefellers at Williamsburg (McLean, Va.: EPM Publications, 1991), 102. <br />(2) Hugh DeSamper, Welcome to the Williamsburg Inn (Williamsburg, Va.: The Colonial Williamsburg Foundation in association with Lickle Publishing, Inc., 1997), 4. <br />(3) Anders Greenspan, Creating Colonial Williamsburg (Washington: Smithsonian Institution Press, 2002), 154. <br />(4) Brian A. Dementi, Churchill & Eisenhower Together Again: A Virginia Visit (Manakin-Sabot, Va.: Dementi Milestone Publishing Inc., 2015), 85. <br />(5) Greenspan, 79. <br />(6) Gonzalez, 110. <br />(7) Greenspan, 117. <br />(8) Greenspan, 111. <br />(9) Gonzalez, 110. <br />(10) Mary Theobald, “Every Man a King: The VIPs Visit Colonial Williamsburg” Colonial Williamsburg Journal 23, No. 3 (Autumn 2001): 40. <br />(11) Greenspan, 153.<br />(12) “The World Comes to Williamsburg,” Colonial Williamsburg 4, No. 1 (Autumn 1983): 20.
<p>For further information: <a href="https://research.colonialwilliamsburg.org/Foundation/Journal/Autumn01/vips.cfm">https://research.colonialwilliamsburg.org/Foundation/Journal/Autumn01/vips.cfm</a></p>
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
35mm slide
Physical Dimensions
The actual physical size of the original image.
2x2 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
Emperor Hirohito and Empress Nagako
Subject
The topic of the resource
Hirohito, Emperor of Japan, 1901-1989
Nagako, Empress, consort of Hirohito, Emperor of Japan, 1903-2000
Foreign Visitors - Japan
Heads of State - Japan
Kings, Queens, Rulers, etc.
Humelsine, Carlisle H.
Block 02. Building 65.
Williamsburg Inn (Williamsburg, Va.)
Description
An account of the resource
Japan's Emperor Hirohito and Empress Nagako setting out from the Williamsburg Inn on a carriage ride with Colonial Williamsburg president Carlisle Humelsine. The Emperor and Empress requested that their visit be identical to the visit of Queen Elizabeth II in 1957. Accommodations were made at the Williamsburg Inn and around the Historic Area. Security was tighter than normal, due to a threat against the Emperor and Empress from the Japanese Red Army.
Date
A point or period of time associated with an event in the lifecycle of the resource
October 1, 1975
Date Created
Date of creation of the resource.
October 1, 1975
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
1957-2241
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller Jr. Library, The Colonial Williamsburg Foundation
Carlisle Humelsine
Carriages
Distinguished Visitors
Emperor Hirohito
Emperors
Empress Nagako
Empresses
Heads of State
Japan
Presidents
Virginia
Williamsburg
Williamsburg Inn
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371e6020013b17304fb5af2fa86605d6
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
Distinguished Visitors to Colonial Williamsburg
Subject
The topic of the resource
Visitors, Foreign
Presidents - United States
Celebrities - United States
Entertainers - United States
Kings, queens, rulers etc.
Statesmen
Gelatin silver prints
Color slides
Description
An account of the resource
<p>Colonial Williamsburg has played host to numerous distinguished visitors in the form of foreign dignitaries and heads of state, royalty, musicians, actors, and writers. A significant series within Colonial Williamsburg's official archive of photos taken by staff photographers, the distinguished visitor images offer a fascinating glimpse into many historic occasions and special events that took place within the living history museum. A selection is offered here to give researchers a sense of the scope of the subjects represented.</p>
<p>Government officials, actors, and even sports stars, began arriving at Colonial Williamsburg soon after the museum opened its first exhibition buildings in the 1930s. President Franklin D. Roosevelt dedicated Duke of Gloucester Street in 1934 becoming the first United States president to experience its beauty and historical significance.<sup>1</sup> The completion of the Williamsburg Inn and Williamsburg Lodge offered gracious accommodations to attract other well-known guests. Child actress Shirley Temple celebrated her birthday in Williamsburg in 1938, while tennis star Helen Hull Jacobs registered as the first occupant at the Williamsburg Lodge in 1939.<sup>2</sup></p>
<p>During World War II, trips to Colonial Williamsburg served as a form of indoctrination for servicemen from neighboring military bases. Troops watched orientation films, attended lectures, and toured the Historic Area as a way to remind them of what they were going overseas to fight for.<sup>3</sup> In 1946, British Prime Minister Winston Churchill and General Dwight D. Eisenhower arrived for a post-war visit to Colonial Williamsburg that included drinks at the Raleigh Tavern, a tour of several exhibition buildings, and a special dinner at the Williamsburg Inn.<sup>4</sup></p>
<p>The late 1940s marked the beginning of a steady stream of visits by foreign dignitaries. The United States Department of State began a custom of bringing foreign heads of state down from Washington, D.C. as part of their official visits to the United States. As a result, Colonial Williamsburg began expanding its focus to embrace a more international audience and celebrate some of the timeless democratic ideals embodied in the historic events that took place in colonial Virginia.<sup>5</sup> The growing living history museum also attracted the attention of Walt Disney, who visited in 1948 and offered his perspectives and ideas on the museum's operations.<sup>6</sup></p>
<p>During the 1950s, a standard protocol for VIP visits encompassed trips to Jamestown, Colonial Williamsburg, and Yorktown. Foreign visitors received a rapid overview of American history and ideals as a form of education by State Department officials. <sup>7</sup> Queen Elizabeth II's royal visit for the 250th anniversary of the arrival of settlers at Jamestown marked an important initial step towards strengthening ties between Great Britain and Colonial Williamsburg.<sup>8</sup> A succession of British dignitaries, ranging from the Lord Mayor of London to the Prince of Wales, followed.</p>
<p>Colonial Williamsburg President Carlisle Humelsine used his former State Department connections to turn Colonial Williamsburg into what many dubbed "State Department South." He oversaw over one hundred visits by foreign dignitaries who came to the area as part of official State Department itineraries. The typical visit during the Humelsine era included a carriage ride, along with stops at major exhibition buildings, such as the Capitol and the Palace, as well as one or two of the trade shops.<sup>9</sup></p>
<p>The 1960s and 1970s also witnessed a number of television stars descending upon Colonial Williamsburg with their accompanying production crews. Animal star Lassie performed in several scenes around the Historic Area as part of a larger travel series for his popular television show. Perry Como and John Wayne explored many aspects of Colonial Williamsburg during the filming of Perry Como's Early American Christmas in 1978.<sup>10</sup></p>
<p>Visits by foreign heads of state culminated in the 1980s when Ronald Reagan hosted the Ninth Economic Summit of Industrialized Nations at Colonial Williamsburg. The unprecedented closure of the entire Historic Area for the weekend in May 1983 marked a gamble on the part of Colonial Williamsburg officials to generate more international interest via the three thousand journalists covering the event. <sup>11</sup> Participants included Prime Minister Margaret Thatcher of the United Kingdom, Prime Minister Yasuhiro Nakasone of Japan, Prime Minister Amintore Fanfani of Italy, Prime Minister Elliot Trudeau of Canada, Chancellor Helmut Kohl of Germany, and President Francois Mitterand of France. Opera singer Leontyne Price also contributed to the event's pageantry by performing at one of the state dinners.<sup>12</sup></p>
<p>In the decades which followed, a combination of actors, entertainers, sports stars, political candidates, and government leaders continued to visit in a steady stream of both official and "undercover" appearances. Two of the more high profile dignitaries included President Zhang Zemin of China in 1997 and a return visit of Queen Elizabeth II in 2007. Whether drawing large crowds or simply enjoying the peaceful charm with a few friends or Colonial Williamsburg escorts, each visitor has left their mark in the form of a fascinating legacy of photos.</p>
Endnotes: <br />(1) Donald J. Gonzalez, The Rockefellers at Williamsburg (McLean, Va.: EPM Publications, 1991), 102. <br />(2) Hugh DeSamper, Welcome to the Williamsburg Inn (Williamsburg, Va.: The Colonial Williamsburg Foundation in association with Lickle Publishing, Inc., 1997), 4. <br />(3) Anders Greenspan, Creating Colonial Williamsburg (Washington: Smithsonian Institution Press, 2002), 154. <br />(4) Brian A. Dementi, Churchill & Eisenhower Together Again: A Virginia Visit (Manakin-Sabot, Va.: Dementi Milestone Publishing Inc., 2015), 85. <br />(5) Greenspan, 79. <br />(6) Gonzalez, 110. <br />(7) Greenspan, 117. <br />(8) Greenspan, 111. <br />(9) Gonzalez, 110. <br />(10) Mary Theobald, “Every Man a King: The VIPs Visit Colonial Williamsburg” Colonial Williamsburg Journal 23, No. 3 (Autumn 2001): 40. <br />(11) Greenspan, 153.<br />(12) “The World Comes to Williamsburg,” Colonial Williamsburg 4, No. 1 (Autumn 1983): 20.
<p>For further information: <a href="https://research.colonialwilliamsburg.org/Foundation/Journal/Autumn01/vips.cfm">https://research.colonialwilliamsburg.org/Foundation/Journal/Autumn01/vips.cfm</a></p>
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
35mm slide
Physical Dimensions
The actual physical size of the original image.
2x2 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
Marshal Tito of Yugoslavia
Subject
The topic of the resource
Tito, Josip Broz, 1892-1980
Foreign Visitors - Yugoslavia
Heads of State - Yugoslavia
Description
An account of the resource
Marshal Tito of Yugoslavia rides in a carriage with Williamsburg Mayor (Dr.) Henry M. Stryker, Colonial Williamsburg President Carlisle Humelsine, and others. Tito was in the United States for an informal visit to tour the nation. While visiting Colonial Williamsburg, Tito fell ill and stayed in bed at the Lightfoot House. Tito's wife visited Carter's Grove and, per her request, an American grocery store.
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
1963-834
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
1963-10
Date Created
Date of creation of the resource.
1963-10
Carriages
Distinguished Visitors
Foreign Visitors
Heads of State
Henry M. Stryker
Josip Broz Tito
Marshal Tito
Mayor of Williamsburg
Virginia
Williamsburg
Yugoslavia
-
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a743bd6b2ab47aa4d265986e2fab7530
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
Distinguished Visitors to Colonial Williamsburg
Subject
The topic of the resource
Visitors, Foreign
Presidents - United States
Celebrities - United States
Entertainers - United States
Kings, queens, rulers etc.
Statesmen
Gelatin silver prints
Color slides
Description
An account of the resource
<p>Colonial Williamsburg has played host to numerous distinguished visitors in the form of foreign dignitaries and heads of state, royalty, musicians, actors, and writers. A significant series within Colonial Williamsburg's official archive of photos taken by staff photographers, the distinguished visitor images offer a fascinating glimpse into many historic occasions and special events that took place within the living history museum. A selection is offered here to give researchers a sense of the scope of the subjects represented.</p>
<p>Government officials, actors, and even sports stars, began arriving at Colonial Williamsburg soon after the museum opened its first exhibition buildings in the 1930s. President Franklin D. Roosevelt dedicated Duke of Gloucester Street in 1934 becoming the first United States president to experience its beauty and historical significance.<sup>1</sup> The completion of the Williamsburg Inn and Williamsburg Lodge offered gracious accommodations to attract other well-known guests. Child actress Shirley Temple celebrated her birthday in Williamsburg in 1938, while tennis star Helen Hull Jacobs registered as the first occupant at the Williamsburg Lodge in 1939.<sup>2</sup></p>
<p>During World War II, trips to Colonial Williamsburg served as a form of indoctrination for servicemen from neighboring military bases. Troops watched orientation films, attended lectures, and toured the Historic Area as a way to remind them of what they were going overseas to fight for.<sup>3</sup> In 1946, British Prime Minister Winston Churchill and General Dwight D. Eisenhower arrived for a post-war visit to Colonial Williamsburg that included drinks at the Raleigh Tavern, a tour of several exhibition buildings, and a special dinner at the Williamsburg Inn.<sup>4</sup></p>
<p>The late 1940s marked the beginning of a steady stream of visits by foreign dignitaries. The United States Department of State began a custom of bringing foreign heads of state down from Washington, D.C. as part of their official visits to the United States. As a result, Colonial Williamsburg began expanding its focus to embrace a more international audience and celebrate some of the timeless democratic ideals embodied in the historic events that took place in colonial Virginia.<sup>5</sup> The growing living history museum also attracted the attention of Walt Disney, who visited in 1948 and offered his perspectives and ideas on the museum's operations.<sup>6</sup></p>
<p>During the 1950s, a standard protocol for VIP visits encompassed trips to Jamestown, Colonial Williamsburg, and Yorktown. Foreign visitors received a rapid overview of American history and ideals as a form of education by State Department officials. <sup>7</sup> Queen Elizabeth II's royal visit for the 250th anniversary of the arrival of settlers at Jamestown marked an important initial step towards strengthening ties between Great Britain and Colonial Williamsburg.<sup>8</sup> A succession of British dignitaries, ranging from the Lord Mayor of London to the Prince of Wales, followed.</p>
<p>Colonial Williamsburg President Carlisle Humelsine used his former State Department connections to turn Colonial Williamsburg into what many dubbed "State Department South." He oversaw over one hundred visits by foreign dignitaries who came to the area as part of official State Department itineraries. The typical visit during the Humelsine era included a carriage ride, along with stops at major exhibition buildings, such as the Capitol and the Palace, as well as one or two of the trade shops.<sup>9</sup></p>
<p>The 1960s and 1970s also witnessed a number of television stars descending upon Colonial Williamsburg with their accompanying production crews. Animal star Lassie performed in several scenes around the Historic Area as part of a larger travel series for his popular television show. Perry Como and John Wayne explored many aspects of Colonial Williamsburg during the filming of Perry Como's Early American Christmas in 1978.<sup>10</sup></p>
<p>Visits by foreign heads of state culminated in the 1980s when Ronald Reagan hosted the Ninth Economic Summit of Industrialized Nations at Colonial Williamsburg. The unprecedented closure of the entire Historic Area for the weekend in May 1983 marked a gamble on the part of Colonial Williamsburg officials to generate more international interest via the three thousand journalists covering the event. <sup>11</sup> Participants included Prime Minister Margaret Thatcher of the United Kingdom, Prime Minister Yasuhiro Nakasone of Japan, Prime Minister Amintore Fanfani of Italy, Prime Minister Elliot Trudeau of Canada, Chancellor Helmut Kohl of Germany, and President Francois Mitterand of France. Opera singer Leontyne Price also contributed to the event's pageantry by performing at one of the state dinners.<sup>12</sup></p>
<p>In the decades which followed, a combination of actors, entertainers, sports stars, political candidates, and government leaders continued to visit in a steady stream of both official and "undercover" appearances. Two of the more high profile dignitaries included President Zhang Zemin of China in 1997 and a return visit of Queen Elizabeth II in 2007. Whether drawing large crowds or simply enjoying the peaceful charm with a few friends or Colonial Williamsburg escorts, each visitor has left their mark in the form of a fascinating legacy of photos.</p>
Endnotes: <br />(1) Donald J. Gonzalez, The Rockefellers at Williamsburg (McLean, Va.: EPM Publications, 1991), 102. <br />(2) Hugh DeSamper, Welcome to the Williamsburg Inn (Williamsburg, Va.: The Colonial Williamsburg Foundation in association with Lickle Publishing, Inc., 1997), 4. <br />(3) Anders Greenspan, Creating Colonial Williamsburg (Washington: Smithsonian Institution Press, 2002), 154. <br />(4) Brian A. Dementi, Churchill & Eisenhower Together Again: A Virginia Visit (Manakin-Sabot, Va.: Dementi Milestone Publishing Inc., 2015), 85. <br />(5) Greenspan, 79. <br />(6) Gonzalez, 110. <br />(7) Greenspan, 117. <br />(8) Greenspan, 111. <br />(9) Gonzalez, 110. <br />(10) Mary Theobald, “Every Man a King: The VIPs Visit Colonial Williamsburg” Colonial Williamsburg Journal 23, No. 3 (Autumn 2001): 40. <br />(11) Greenspan, 153.<br />(12) “The World Comes to Williamsburg,” Colonial Williamsburg 4, No. 1 (Autumn 1983): 20.
<p>For further information: <a href="https://research.colonialwilliamsburg.org/Foundation/Journal/Autumn01/vips.cfm">https://research.colonialwilliamsburg.org/Foundation/Journal/Autumn01/vips.cfm</a></p>
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
35mm slide
Physical Dimensions
The actual physical size of the original image.
2x2 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
Soviet Cosmonauts
Subject
The topic of the resource
Visitors, Foreign - USSR
Astronauts
Cosmonauts
Celebrities - USSR
Celebrities - United States
Beregovoi, Georgii Timofeevich
Feoktistov, Konstantin, 1926-2009
Anders, William A. (William Alison), 1933-
Description
An account of the resource
Photo taken during visit of Soviet cosmonauts Georgy Beregovoy and Konstantin Feoktistov and former U.S. astronaut William Anders. Also in party are Mrs. Beregovoy and 19 year-old Viktor Beregovoy.
Date
A point or period of time associated with an event in the lifecycle of the resource
1969-10
Date Created
Date of creation of the resource.
1969-10
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
1969-3923
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller Jr. Library, The Colonial Williamsburg Foundation
Astronauts
Carriages
Cosmonauts
Costumed Interpreters
Distinguished Visitors
Foreign Visitors
Georgy Beregovoy
Konstantin Feoktistov
Soviet Union
USSR
Viktor Beregovoy
Virginia
William Anders
Williamsburg
-
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1c46ddb235081fa234abb1973dbfb3bb
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
Distinguished Visitors to Colonial Williamsburg
Subject
The topic of the resource
Visitors, Foreign
Presidents - United States
Celebrities - United States
Entertainers - United States
Kings, queens, rulers etc.
Statesmen
Gelatin silver prints
Color slides
Description
An account of the resource
<p>Colonial Williamsburg has played host to numerous distinguished visitors in the form of foreign dignitaries and heads of state, royalty, musicians, actors, and writers. A significant series within Colonial Williamsburg's official archive of photos taken by staff photographers, the distinguished visitor images offer a fascinating glimpse into many historic occasions and special events that took place within the living history museum. A selection is offered here to give researchers a sense of the scope of the subjects represented.</p>
<p>Government officials, actors, and even sports stars, began arriving at Colonial Williamsburg soon after the museum opened its first exhibition buildings in the 1930s. President Franklin D. Roosevelt dedicated Duke of Gloucester Street in 1934 becoming the first United States president to experience its beauty and historical significance.<sup>1</sup> The completion of the Williamsburg Inn and Williamsburg Lodge offered gracious accommodations to attract other well-known guests. Child actress Shirley Temple celebrated her birthday in Williamsburg in 1938, while tennis star Helen Hull Jacobs registered as the first occupant at the Williamsburg Lodge in 1939.<sup>2</sup></p>
<p>During World War II, trips to Colonial Williamsburg served as a form of indoctrination for servicemen from neighboring military bases. Troops watched orientation films, attended lectures, and toured the Historic Area as a way to remind them of what they were going overseas to fight for.<sup>3</sup> In 1946, British Prime Minister Winston Churchill and General Dwight D. Eisenhower arrived for a post-war visit to Colonial Williamsburg that included drinks at the Raleigh Tavern, a tour of several exhibition buildings, and a special dinner at the Williamsburg Inn.<sup>4</sup></p>
<p>The late 1940s marked the beginning of a steady stream of visits by foreign dignitaries. The United States Department of State began a custom of bringing foreign heads of state down from Washington, D.C. as part of their official visits to the United States. As a result, Colonial Williamsburg began expanding its focus to embrace a more international audience and celebrate some of the timeless democratic ideals embodied in the historic events that took place in colonial Virginia.<sup>5</sup> The growing living history museum also attracted the attention of Walt Disney, who visited in 1948 and offered his perspectives and ideas on the museum's operations.<sup>6</sup></p>
<p>During the 1950s, a standard protocol for VIP visits encompassed trips to Jamestown, Colonial Williamsburg, and Yorktown. Foreign visitors received a rapid overview of American history and ideals as a form of education by State Department officials. <sup>7</sup> Queen Elizabeth II's royal visit for the 250th anniversary of the arrival of settlers at Jamestown marked an important initial step towards strengthening ties between Great Britain and Colonial Williamsburg.<sup>8</sup> A succession of British dignitaries, ranging from the Lord Mayor of London to the Prince of Wales, followed.</p>
<p>Colonial Williamsburg President Carlisle Humelsine used his former State Department connections to turn Colonial Williamsburg into what many dubbed "State Department South." He oversaw over one hundred visits by foreign dignitaries who came to the area as part of official State Department itineraries. The typical visit during the Humelsine era included a carriage ride, along with stops at major exhibition buildings, such as the Capitol and the Palace, as well as one or two of the trade shops.<sup>9</sup></p>
<p>The 1960s and 1970s also witnessed a number of television stars descending upon Colonial Williamsburg with their accompanying production crews. Animal star Lassie performed in several scenes around the Historic Area as part of a larger travel series for his popular television show. Perry Como and John Wayne explored many aspects of Colonial Williamsburg during the filming of Perry Como's Early American Christmas in 1978.<sup>10</sup></p>
<p>Visits by foreign heads of state culminated in the 1980s when Ronald Reagan hosted the Ninth Economic Summit of Industrialized Nations at Colonial Williamsburg. The unprecedented closure of the entire Historic Area for the weekend in May 1983 marked a gamble on the part of Colonial Williamsburg officials to generate more international interest via the three thousand journalists covering the event. <sup>11</sup> Participants included Prime Minister Margaret Thatcher of the United Kingdom, Prime Minister Yasuhiro Nakasone of Japan, Prime Minister Amintore Fanfani of Italy, Prime Minister Elliot Trudeau of Canada, Chancellor Helmut Kohl of Germany, and President Francois Mitterand of France. Opera singer Leontyne Price also contributed to the event's pageantry by performing at one of the state dinners.<sup>12</sup></p>
<p>In the decades which followed, a combination of actors, entertainers, sports stars, political candidates, and government leaders continued to visit in a steady stream of both official and "undercover" appearances. Two of the more high profile dignitaries included President Zhang Zemin of China in 1997 and a return visit of Queen Elizabeth II in 2007. Whether drawing large crowds or simply enjoying the peaceful charm with a few friends or Colonial Williamsburg escorts, each visitor has left their mark in the form of a fascinating legacy of photos.</p>
Endnotes: <br />(1) Donald J. Gonzalez, The Rockefellers at Williamsburg (McLean, Va.: EPM Publications, 1991), 102. <br />(2) Hugh DeSamper, Welcome to the Williamsburg Inn (Williamsburg, Va.: The Colonial Williamsburg Foundation in association with Lickle Publishing, Inc., 1997), 4. <br />(3) Anders Greenspan, Creating Colonial Williamsburg (Washington: Smithsonian Institution Press, 2002), 154. <br />(4) Brian A. Dementi, Churchill & Eisenhower Together Again: A Virginia Visit (Manakin-Sabot, Va.: Dementi Milestone Publishing Inc., 2015), 85. <br />(5) Greenspan, 79. <br />(6) Gonzalez, 110. <br />(7) Greenspan, 117. <br />(8) Greenspan, 111. <br />(9) Gonzalez, 110. <br />(10) Mary Theobald, “Every Man a King: The VIPs Visit Colonial Williamsburg” Colonial Williamsburg Journal 23, No. 3 (Autumn 2001): 40. <br />(11) Greenspan, 153.<br />(12) “The World Comes to Williamsburg,” Colonial Williamsburg 4, No. 1 (Autumn 1983): 20.
<p>For further information: <a href="https://research.colonialwilliamsburg.org/Foundation/Journal/Autumn01/vips.cfm">https://research.colonialwilliamsburg.org/Foundation/Journal/Autumn01/vips.cfm</a></p>
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
35mm slide
Physical Dimensions
The actual physical size of the original image.
2x2 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
King Faisal of Saudi Arabia
Subject
The topic of the resource
Visitors, Foreign - Saudi Arabia
Kings, Queens, Rulers, etc.
Heads of state - Saudi Arabia
Faisal, King of Saudi Arabia, 1906-1975
Description
An account of the resource
King Faisal of Saudi Arabia rides through the Historic Area in a carriage during his June 1966 visit. King Faisal came to Williamsburg on his way to meet President Johnson for his first official state visit. Due to some logistical changes at the last minute, King Faisal arrived by helicopter around midnight. The heliport at the Williamsburg Inn was hurriedly adapted for night use through the use of floodlights.
Date
A point or period of time associated with an event in the lifecycle of the resource
1966-06
Date Created
Date of creation of the resource.
1966-06
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
1970-383
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller Jr. Library, The Colonial Williamsburg Foundation
Carriages
Costumed Interpreters
Distinguished Visitors
Foreign Visitors
King Faisal
Saudi Arabia
Virginia
Williamsburg
-
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289a05352d9b9bcb9ec5aca5e58c7831
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
Distinguished Visitors to Colonial Williamsburg
Subject
The topic of the resource
Visitors, Foreign
Presidents - United States
Celebrities - United States
Entertainers - United States
Kings, queens, rulers etc.
Statesmen
Gelatin silver prints
Color slides
Description
An account of the resource
<p>Colonial Williamsburg has played host to numerous distinguished visitors in the form of foreign dignitaries and heads of state, royalty, musicians, actors, and writers. A significant series within Colonial Williamsburg's official archive of photos taken by staff photographers, the distinguished visitor images offer a fascinating glimpse into many historic occasions and special events that took place within the living history museum. A selection is offered here to give researchers a sense of the scope of the subjects represented.</p>
<p>Government officials, actors, and even sports stars, began arriving at Colonial Williamsburg soon after the museum opened its first exhibition buildings in the 1930s. President Franklin D. Roosevelt dedicated Duke of Gloucester Street in 1934 becoming the first United States president to experience its beauty and historical significance.<sup>1</sup> The completion of the Williamsburg Inn and Williamsburg Lodge offered gracious accommodations to attract other well-known guests. Child actress Shirley Temple celebrated her birthday in Williamsburg in 1938, while tennis star Helen Hull Jacobs registered as the first occupant at the Williamsburg Lodge in 1939.<sup>2</sup></p>
<p>During World War II, trips to Colonial Williamsburg served as a form of indoctrination for servicemen from neighboring military bases. Troops watched orientation films, attended lectures, and toured the Historic Area as a way to remind them of what they were going overseas to fight for.<sup>3</sup> In 1946, British Prime Minister Winston Churchill and General Dwight D. Eisenhower arrived for a post-war visit to Colonial Williamsburg that included drinks at the Raleigh Tavern, a tour of several exhibition buildings, and a special dinner at the Williamsburg Inn.<sup>4</sup></p>
<p>The late 1940s marked the beginning of a steady stream of visits by foreign dignitaries. The United States Department of State began a custom of bringing foreign heads of state down from Washington, D.C. as part of their official visits to the United States. As a result, Colonial Williamsburg began expanding its focus to embrace a more international audience and celebrate some of the timeless democratic ideals embodied in the historic events that took place in colonial Virginia.<sup>5</sup> The growing living history museum also attracted the attention of Walt Disney, who visited in 1948 and offered his perspectives and ideas on the museum's operations.<sup>6</sup></p>
<p>During the 1950s, a standard protocol for VIP visits encompassed trips to Jamestown, Colonial Williamsburg, and Yorktown. Foreign visitors received a rapid overview of American history and ideals as a form of education by State Department officials. <sup>7</sup> Queen Elizabeth II's royal visit for the 250th anniversary of the arrival of settlers at Jamestown marked an important initial step towards strengthening ties between Great Britain and Colonial Williamsburg.<sup>8</sup> A succession of British dignitaries, ranging from the Lord Mayor of London to the Prince of Wales, followed.</p>
<p>Colonial Williamsburg President Carlisle Humelsine used his former State Department connections to turn Colonial Williamsburg into what many dubbed "State Department South." He oversaw over one hundred visits by foreign dignitaries who came to the area as part of official State Department itineraries. The typical visit during the Humelsine era included a carriage ride, along with stops at major exhibition buildings, such as the Capitol and the Palace, as well as one or two of the trade shops.<sup>9</sup></p>
<p>The 1960s and 1970s also witnessed a number of television stars descending upon Colonial Williamsburg with their accompanying production crews. Animal star Lassie performed in several scenes around the Historic Area as part of a larger travel series for his popular television show. Perry Como and John Wayne explored many aspects of Colonial Williamsburg during the filming of Perry Como's Early American Christmas in 1978.<sup>10</sup></p>
<p>Visits by foreign heads of state culminated in the 1980s when Ronald Reagan hosted the Ninth Economic Summit of Industrialized Nations at Colonial Williamsburg. The unprecedented closure of the entire Historic Area for the weekend in May 1983 marked a gamble on the part of Colonial Williamsburg officials to generate more international interest via the three thousand journalists covering the event. <sup>11</sup> Participants included Prime Minister Margaret Thatcher of the United Kingdom, Prime Minister Yasuhiro Nakasone of Japan, Prime Minister Amintore Fanfani of Italy, Prime Minister Elliot Trudeau of Canada, Chancellor Helmut Kohl of Germany, and President Francois Mitterand of France. Opera singer Leontyne Price also contributed to the event's pageantry by performing at one of the state dinners.<sup>12</sup></p>
<p>In the decades which followed, a combination of actors, entertainers, sports stars, political candidates, and government leaders continued to visit in a steady stream of both official and "undercover" appearances. Two of the more high profile dignitaries included President Zhang Zemin of China in 1997 and a return visit of Queen Elizabeth II in 2007. Whether drawing large crowds or simply enjoying the peaceful charm with a few friends or Colonial Williamsburg escorts, each visitor has left their mark in the form of a fascinating legacy of photos.</p>
Endnotes: <br />(1) Donald J. Gonzalez, The Rockefellers at Williamsburg (McLean, Va.: EPM Publications, 1991), 102. <br />(2) Hugh DeSamper, Welcome to the Williamsburg Inn (Williamsburg, Va.: The Colonial Williamsburg Foundation in association with Lickle Publishing, Inc., 1997), 4. <br />(3) Anders Greenspan, Creating Colonial Williamsburg (Washington: Smithsonian Institution Press, 2002), 154. <br />(4) Brian A. Dementi, Churchill & Eisenhower Together Again: A Virginia Visit (Manakin-Sabot, Va.: Dementi Milestone Publishing Inc., 2015), 85. <br />(5) Greenspan, 79. <br />(6) Gonzalez, 110. <br />(7) Greenspan, 117. <br />(8) Greenspan, 111. <br />(9) Gonzalez, 110. <br />(10) Mary Theobald, “Every Man a King: The VIPs Visit Colonial Williamsburg” Colonial Williamsburg Journal 23, No. 3 (Autumn 2001): 40. <br />(11) Greenspan, 153.<br />(12) “The World Comes to Williamsburg,” Colonial Williamsburg 4, No. 1 (Autumn 1983): 20.
<p>For further information: <a href="https://research.colonialwilliamsburg.org/Foundation/Journal/Autumn01/vips.cfm">https://research.colonialwilliamsburg.org/Foundation/Journal/Autumn01/vips.cfm</a></p>
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
35mm slide
Physical Dimensions
The actual physical size of the original image.
2x2 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
President Ronald Reagan and British Prime Minister Margaret Thatcher
Subject
The topic of the resource
Presidents - United States
Prime Ministers - United Kingdom
Visitors, Foreign - United Kingdom
Heads of state - United Kingdom
Heads of state - United States
Reagan, Ronald
Thatcher, Margaret
Description
An account of the resource
President Ronald Reagan greets British Prime Minister Margaret Thatcher during the welcoming ceremonies of the 1983 Economic Summit. Her visit was accompanied by the heads of state of France, Canada, West Germany, Italy, and Japan. The summit saw conversation between these leaders on topics ranging from international trade to missile deployments against the Soviet Union. It concluded with a series of economic principles the summit came to agree upon, which was titled, "The Williamsburg Declaration on Economic Recovery."
Date
A point or period of time associated with an event in the lifecycle of the resource
1983-05-28
Date Created
Date of creation of the resource.
1983-05-28
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
1984-100
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller Jr. Library, The Colonial Williamsburg Foundation
1983 G7 Summit
1983 Williamsburg Economic Summit
Carriages
Costumed Interpreters
Distinguished Visitors
Foreign Visitors
Heads of State
Margaret Thatcher
President of the United States
Presidents
Prime Ministers of the United Kingdom
Ronald Reagan
United Kingdom
Virginia
Williamsburg
-
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61307f793136bde771e832c7108465fa
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
Distinguished Visitors to Colonial Williamsburg
Subject
The topic of the resource
Visitors, Foreign
Presidents - United States
Celebrities - United States
Entertainers - United States
Kings, queens, rulers etc.
Statesmen
Gelatin silver prints
Color slides
Description
An account of the resource
<p>Colonial Williamsburg has played host to numerous distinguished visitors in the form of foreign dignitaries and heads of state, royalty, musicians, actors, and writers. A significant series within Colonial Williamsburg's official archive of photos taken by staff photographers, the distinguished visitor images offer a fascinating glimpse into many historic occasions and special events that took place within the living history museum. A selection is offered here to give researchers a sense of the scope of the subjects represented.</p>
<p>Government officials, actors, and even sports stars, began arriving at Colonial Williamsburg soon after the museum opened its first exhibition buildings in the 1930s. President Franklin D. Roosevelt dedicated Duke of Gloucester Street in 1934 becoming the first United States president to experience its beauty and historical significance.<sup>1</sup> The completion of the Williamsburg Inn and Williamsburg Lodge offered gracious accommodations to attract other well-known guests. Child actress Shirley Temple celebrated her birthday in Williamsburg in 1938, while tennis star Helen Hull Jacobs registered as the first occupant at the Williamsburg Lodge in 1939.<sup>2</sup></p>
<p>During World War II, trips to Colonial Williamsburg served as a form of indoctrination for servicemen from neighboring military bases. Troops watched orientation films, attended lectures, and toured the Historic Area as a way to remind them of what they were going overseas to fight for.<sup>3</sup> In 1946, British Prime Minister Winston Churchill and General Dwight D. Eisenhower arrived for a post-war visit to Colonial Williamsburg that included drinks at the Raleigh Tavern, a tour of several exhibition buildings, and a special dinner at the Williamsburg Inn.<sup>4</sup></p>
<p>The late 1940s marked the beginning of a steady stream of visits by foreign dignitaries. The United States Department of State began a custom of bringing foreign heads of state down from Washington, D.C. as part of their official visits to the United States. As a result, Colonial Williamsburg began expanding its focus to embrace a more international audience and celebrate some of the timeless democratic ideals embodied in the historic events that took place in colonial Virginia.<sup>5</sup> The growing living history museum also attracted the attention of Walt Disney, who visited in 1948 and offered his perspectives and ideas on the museum's operations.<sup>6</sup></p>
<p>During the 1950s, a standard protocol for VIP visits encompassed trips to Jamestown, Colonial Williamsburg, and Yorktown. Foreign visitors received a rapid overview of American history and ideals as a form of education by State Department officials. <sup>7</sup> Queen Elizabeth II's royal visit for the 250th anniversary of the arrival of settlers at Jamestown marked an important initial step towards strengthening ties between Great Britain and Colonial Williamsburg.<sup>8</sup> A succession of British dignitaries, ranging from the Lord Mayor of London to the Prince of Wales, followed.</p>
<p>Colonial Williamsburg President Carlisle Humelsine used his former State Department connections to turn Colonial Williamsburg into what many dubbed "State Department South." He oversaw over one hundred visits by foreign dignitaries who came to the area as part of official State Department itineraries. The typical visit during the Humelsine era included a carriage ride, along with stops at major exhibition buildings, such as the Capitol and the Palace, as well as one or two of the trade shops.<sup>9</sup></p>
<p>The 1960s and 1970s also witnessed a number of television stars descending upon Colonial Williamsburg with their accompanying production crews. Animal star Lassie performed in several scenes around the Historic Area as part of a larger travel series for his popular television show. Perry Como and John Wayne explored many aspects of Colonial Williamsburg during the filming of Perry Como's Early American Christmas in 1978.<sup>10</sup></p>
<p>Visits by foreign heads of state culminated in the 1980s when Ronald Reagan hosted the Ninth Economic Summit of Industrialized Nations at Colonial Williamsburg. The unprecedented closure of the entire Historic Area for the weekend in May 1983 marked a gamble on the part of Colonial Williamsburg officials to generate more international interest via the three thousand journalists covering the event. <sup>11</sup> Participants included Prime Minister Margaret Thatcher of the United Kingdom, Prime Minister Yasuhiro Nakasone of Japan, Prime Minister Amintore Fanfani of Italy, Prime Minister Elliot Trudeau of Canada, Chancellor Helmut Kohl of Germany, and President Francois Mitterand of France. Opera singer Leontyne Price also contributed to the event's pageantry by performing at one of the state dinners.<sup>12</sup></p>
<p>In the decades which followed, a combination of actors, entertainers, sports stars, political candidates, and government leaders continued to visit in a steady stream of both official and "undercover" appearances. Two of the more high profile dignitaries included President Zhang Zemin of China in 1997 and a return visit of Queen Elizabeth II in 2007. Whether drawing large crowds or simply enjoying the peaceful charm with a few friends or Colonial Williamsburg escorts, each visitor has left their mark in the form of a fascinating legacy of photos.</p>
Endnotes: <br />(1) Donald J. Gonzalez, The Rockefellers at Williamsburg (McLean, Va.: EPM Publications, 1991), 102. <br />(2) Hugh DeSamper, Welcome to the Williamsburg Inn (Williamsburg, Va.: The Colonial Williamsburg Foundation in association with Lickle Publishing, Inc., 1997), 4. <br />(3) Anders Greenspan, Creating Colonial Williamsburg (Washington: Smithsonian Institution Press, 2002), 154. <br />(4) Brian A. Dementi, Churchill & Eisenhower Together Again: A Virginia Visit (Manakin-Sabot, Va.: Dementi Milestone Publishing Inc., 2015), 85. <br />(5) Greenspan, 79. <br />(6) Gonzalez, 110. <br />(7) Greenspan, 117. <br />(8) Greenspan, 111. <br />(9) Gonzalez, 110. <br />(10) Mary Theobald, “Every Man a King: The VIPs Visit Colonial Williamsburg” Colonial Williamsburg Journal 23, No. 3 (Autumn 2001): 40. <br />(11) Greenspan, 153.<br />(12) “The World Comes to Williamsburg,” Colonial Williamsburg 4, No. 1 (Autumn 1983): 20.
<p>For further information: <a href="https://research.colonialwilliamsburg.org/Foundation/Journal/Autumn01/vips.cfm">https://research.colonialwilliamsburg.org/Foundation/Journal/Autumn01/vips.cfm</a></p>
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller Jr. Library, The Colonial Williamsburg Foundation
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
Gelatin silver print
Physical Dimensions
The actual physical size of the original image.
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
Paul-Henri Spaak, Secretary General of NATO
Subject
The topic of the resource
Spaak, Paul-Henri, 1899-1972
Statesmen - Belgium
Williamsburg Inn (Williamsburg, Va.)
Block 02. Building 65.
Description
An account of the resource
Paul-Henri Spaak, Secretary General of NATO and Belgian statesman, is seated in a carriage in front of the Williamsburg Inn, preparing for a ride around the Historic Area.
Creator
An entity primarily responsible for making the resource
Crane, John
Date
A point or period of time associated with an event in the lifecycle of the resource
1957-10
Date Created
Date of creation of the resource.
1957-10
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
57-JC-3148
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller Jr. Library, The Colonial Williamsburg Foundation
Belgium
Carriages
Distinguished Visitors
Foreign Visitors
John Crane
NATO
North Atlantic Treaty Organization
Paul-Henri Spaak
Virginia
Williamsburg
Williamsburg Inn
-
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152a2472c91d7a4fd518b8756c856735
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
Distinguished Visitors to Colonial Williamsburg
Subject
The topic of the resource
Visitors, Foreign
Presidents - United States
Celebrities - United States
Entertainers - United States
Kings, queens, rulers etc.
Statesmen
Gelatin silver prints
Color slides
Description
An account of the resource
<p>Colonial Williamsburg has played host to numerous distinguished visitors in the form of foreign dignitaries and heads of state, royalty, musicians, actors, and writers. A significant series within Colonial Williamsburg's official archive of photos taken by staff photographers, the distinguished visitor images offer a fascinating glimpse into many historic occasions and special events that took place within the living history museum. A selection is offered here to give researchers a sense of the scope of the subjects represented.</p>
<p>Government officials, actors, and even sports stars, began arriving at Colonial Williamsburg soon after the museum opened its first exhibition buildings in the 1930s. President Franklin D. Roosevelt dedicated Duke of Gloucester Street in 1934 becoming the first United States president to experience its beauty and historical significance.<sup>1</sup> The completion of the Williamsburg Inn and Williamsburg Lodge offered gracious accommodations to attract other well-known guests. Child actress Shirley Temple celebrated her birthday in Williamsburg in 1938, while tennis star Helen Hull Jacobs registered as the first occupant at the Williamsburg Lodge in 1939.<sup>2</sup></p>
<p>During World War II, trips to Colonial Williamsburg served as a form of indoctrination for servicemen from neighboring military bases. Troops watched orientation films, attended lectures, and toured the Historic Area as a way to remind them of what they were going overseas to fight for.<sup>3</sup> In 1946, British Prime Minister Winston Churchill and General Dwight D. Eisenhower arrived for a post-war visit to Colonial Williamsburg that included drinks at the Raleigh Tavern, a tour of several exhibition buildings, and a special dinner at the Williamsburg Inn.<sup>4</sup></p>
<p>The late 1940s marked the beginning of a steady stream of visits by foreign dignitaries. The United States Department of State began a custom of bringing foreign heads of state down from Washington, D.C. as part of their official visits to the United States. As a result, Colonial Williamsburg began expanding its focus to embrace a more international audience and celebrate some of the timeless democratic ideals embodied in the historic events that took place in colonial Virginia.<sup>5</sup> The growing living history museum also attracted the attention of Walt Disney, who visited in 1948 and offered his perspectives and ideas on the museum's operations.<sup>6</sup></p>
<p>During the 1950s, a standard protocol for VIP visits encompassed trips to Jamestown, Colonial Williamsburg, and Yorktown. Foreign visitors received a rapid overview of American history and ideals as a form of education by State Department officials. <sup>7</sup> Queen Elizabeth II's royal visit for the 250th anniversary of the arrival of settlers at Jamestown marked an important initial step towards strengthening ties between Great Britain and Colonial Williamsburg.<sup>8</sup> A succession of British dignitaries, ranging from the Lord Mayor of London to the Prince of Wales, followed.</p>
<p>Colonial Williamsburg President Carlisle Humelsine used his former State Department connections to turn Colonial Williamsburg into what many dubbed "State Department South." He oversaw over one hundred visits by foreign dignitaries who came to the area as part of official State Department itineraries. The typical visit during the Humelsine era included a carriage ride, along with stops at major exhibition buildings, such as the Capitol and the Palace, as well as one or two of the trade shops.<sup>9</sup></p>
<p>The 1960s and 1970s also witnessed a number of television stars descending upon Colonial Williamsburg with their accompanying production crews. Animal star Lassie performed in several scenes around the Historic Area as part of a larger travel series for his popular television show. Perry Como and John Wayne explored many aspects of Colonial Williamsburg during the filming of Perry Como's Early American Christmas in 1978.<sup>10</sup></p>
<p>Visits by foreign heads of state culminated in the 1980s when Ronald Reagan hosted the Ninth Economic Summit of Industrialized Nations at Colonial Williamsburg. The unprecedented closure of the entire Historic Area for the weekend in May 1983 marked a gamble on the part of Colonial Williamsburg officials to generate more international interest via the three thousand journalists covering the event. <sup>11</sup> Participants included Prime Minister Margaret Thatcher of the United Kingdom, Prime Minister Yasuhiro Nakasone of Japan, Prime Minister Amintore Fanfani of Italy, Prime Minister Elliot Trudeau of Canada, Chancellor Helmut Kohl of Germany, and President Francois Mitterand of France. Opera singer Leontyne Price also contributed to the event's pageantry by performing at one of the state dinners.<sup>12</sup></p>
<p>In the decades which followed, a combination of actors, entertainers, sports stars, political candidates, and government leaders continued to visit in a steady stream of both official and "undercover" appearances. Two of the more high profile dignitaries included President Zhang Zemin of China in 1997 and a return visit of Queen Elizabeth II in 2007. Whether drawing large crowds or simply enjoying the peaceful charm with a few friends or Colonial Williamsburg escorts, each visitor has left their mark in the form of a fascinating legacy of photos.</p>
Endnotes: <br />(1) Donald J. Gonzalez, The Rockefellers at Williamsburg (McLean, Va.: EPM Publications, 1991), 102. <br />(2) Hugh DeSamper, Welcome to the Williamsburg Inn (Williamsburg, Va.: The Colonial Williamsburg Foundation in association with Lickle Publishing, Inc., 1997), 4. <br />(3) Anders Greenspan, Creating Colonial Williamsburg (Washington: Smithsonian Institution Press, 2002), 154. <br />(4) Brian A. Dementi, Churchill & Eisenhower Together Again: A Virginia Visit (Manakin-Sabot, Va.: Dementi Milestone Publishing Inc., 2015), 85. <br />(5) Greenspan, 79. <br />(6) Gonzalez, 110. <br />(7) Greenspan, 117. <br />(8) Greenspan, 111. <br />(9) Gonzalez, 110. <br />(10) Mary Theobald, “Every Man a King: The VIPs Visit Colonial Williamsburg” Colonial Williamsburg Journal 23, No. 3 (Autumn 2001): 40. <br />(11) Greenspan, 153.<br />(12) “The World Comes to Williamsburg,” Colonial Williamsburg 4, No. 1 (Autumn 1983): 20.
<p>For further information: <a href="https://research.colonialwilliamsburg.org/Foundation/Journal/Autumn01/vips.cfm">https://research.colonialwilliamsburg.org/Foundation/Journal/Autumn01/vips.cfm</a></p>
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller Jr. Library, The Colonial Williamsburg Foundation
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
Gelatin silver print
Physical Dimensions
The actual physical size of the original image.
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
Éamon De Valera
Subject
The topic of the resource
De Valera, Éamon, 1882-1975
Visitors, Foreign - Ireland
Humelsine, Carlisle
Heads of state - Ireland
Powder Magazine (Williamsburg, Va.)
Block 12. Building 09.
Description
An account of the resource
Éamon De Valera, Irish revolutionary and statesman (left), is seated in a carriage during his tour with Colonial Williamsburg Foundation President Carlisle Humelsine (middle) of the Historic Area. The Magazine is seen in the background.
Creator
An entity primarily responsible for making the resource
Toth, Steve
Date
A point or period of time associated with an event in the lifecycle of the resource
1964-05-26-30
Date Created
Date of creation of the resource.
1964-05-26-30
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
64-SMT-1188-33-6A
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller Jr. Library, The Colonial Williamsburg Foundation
Carlisle Humelsine
Carriages
Distinguished Visitors
Eamon De Valera
Foreign Visitors
Ireland
Powder Magazine
Presidents
Steve Toth
Virginia
Williamsburg
-
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38806f174ceb9884cf8e9350a709a426
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
Highlights of the Albert Durant Photography Collection
Description
An account of the resource
The Albert Durant Photography Collection encompasses photoprints, negatives, slides, and personal papers that document the photographic production of Williamsburg's first black city-licensed photographer, Albert Durant. Durant's photographic output provides a priceless visual history of African American life in Williamsburg, Virginia and surrounding communities from the late 1930s to the early 1960s. Since the collection encompasses ten thousand images, highlights of some of the major subject categories covered by the photos are presented here.
The collection provides a fascinating glimpse into African American social life in Williamsburg during the 1940s and 1950s. Durant captured the atmosphere of local jazz and night clubs through scenes of performers singing and dancing and audiences socializing. Durant also acted as photographer for many African American clubs and organizations. Along with taking formal group portraits, he documented these groups through informal shots of meetings, dinners, and special events.
African American student life during segregation is also featured in this visual archive. While a high school student at James City County Training School, Durant began developing his interest in photography by taking images of student activities, including sports, dances, plays, assemblies, and graduations. As an adult, Durant acted as a portrait photographer for Junior-Senior Proms at local black high schools and also documented the sports teams, marching bands, choirs, students, and faculty at Bruton Heights School in Williamsburg.
African American spiritual life is another strength of the collection. Durant photographed church groups, such as choirs and missionary circles, as well as individuals participating in rituals at many different black churches in the Williamsburg area.
Occupations, working conditions, and business opportunities for African Americans in Williamsburg are recorded in Durant's photos, too. The photos show African Americans working in restaurants, beauty and barber shops, stores, offices, dry cleaners, and gas stations.
Albert Wadsworth Durant was born on February 2, 1920 in New York City to Samuel and Bessie Durant. His mother was a native of Williamsburg who moved with her husband to New York and worked as a domestic servant for a family. After the death of her husband, who was originally from the West Indies, Bessie Durant and her children relocated to Williamsburg, Virginia, in 1929.
At age 36, Durant married Elsie Lucille Ferguson on August 18, 1956. They raised three sons, Albert W. Durant Jr., Byron Murphy, and Roderick Ferguson, and two daughters, Yvette Durant and Deanna Ferguson.
Albert Durant ran his own chauffeuring and limousine business in the Williamsburg area, providing services to many distinguished visitors to the city, including the Queen Mother of England, the Prince of Japan, and various chief justices. He often took his customers on excursions to local historic sites, including Colonial Williamsburg, Jamestown, and the James River plantations. Through course work at the College of William and Mary, Durant acquired a background in American history which enabled him to provide historical commentary as he drove customers through the countryside.
Durant's contacts at the College of William and Mary sparked his initial interest in photography and once he had obtained equipment and training, Durant began creating his own historical record of the Williamsburg area. He produced hundreds of portraits documenting the families and activities of African American residents and also documented significant events, places, and persons in and around Williamsburg.
In addition, Albert Durant worked to improve conditions for African Americans in Williamsburg by serving in various positions in the city's government. He acted as the first black Justice of the Peace and Bail Commissioner in Williamsburg and served as the first black magistrate of the General District Court from his appointment in 1962 until his retirement in 1975.
Albert Durant died at age 71 on April 14, 1991.
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
Gelatin silver print
Physical Dimensions
The actual physical size of the original image.
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
Rockefeller's Physician Touring Colonial Williamsburg
Subject
The topic of the resource
African American Photographers
Documentary Photography - Virginia - Williamsburg
Colonial Williamsburg (Williamsburg, Va.)
Carriages & coaches - Virginia - Williamsburg
Description
An account of the resource
John D. Rockefeller Jr.'s personal physician riding in a carriage at Colonial Williamsburg with Mrs. Esther Ruffin and her daughters.
Creator
An entity primarily responsible for making the resource
Durant, Albert W.
Date
A point or period of time associated with an event in the lifecycle of the resource
Circa 1950's
Date Created
Date of creation of the resource.
Circa 1950's
Is Part Of
A related resource in which the described resource is physically or logically included.
Albert Durant Photography Collection. AV-1992.1, Box 9, Folder 16
Format
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jpeg
Type
The nature or genre of the resource
Image
Identifier
An unambiguous reference to the resource within a given context
DUR-5530
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation
Extent
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1 item
African Americans
Albert Wadsworth Durant
Carriages
Children
Coachmen
Colonial Williamsburg
Esther Ruffin
Horses
Physicians
Tourists
Virginia
Williamsburg