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                  <text>The Williamsburg office of architects Perry, Shaw and Hepburn began compiling this extensive collection of 367 boxes of black and white photographs in a series of photo albums in the late 1920s and early 1930s. After the establishment of a Department of Architecture in 1934, the architectural team continued to add photographs to the albums until the 1980s. Together, they comprise a detailed chronological record of the changes that have occurred over time at each site in the Historic Area, ranging from pre-restoration views and archaeological excavations to restoration or reconstruction progress, landscaping installation, completion, and renovation photographs.&#13;
&#13;
Contract photographers Thomas Layton and Frank Nivison took many of the earliest images of the restoration work. Layton, a photographer who operated a studio at 507 E. Broad Street in Richmond, Virginia, worked for the restoration between 1928 and 1930 creating periodic photo documentation of work at the Wren Building, Capitol, Raleigh Tavern, and Ludwell-Paradise House, as well as many pre-restoration views of sites throughout the Historic Area. Frank Nivison, a photographer from the University Film Foundation at Harvard University, took over in late 1930 and spent the next five years meticulously photographing each successive stage of work at sites under reconstruction or restoration. Photos by Layton and Nivison are supplemented by images of pre-restoration Williamsburg that the architects collected from town residents and had copied for research use in the photo albums. They include images taken by Clyde Holmes, D.N. Davidson, and Edward Beckwith. In addition, the albums encompass some photographs taken by members of the architectural team, including Landscape Architect Arthur Shurcliff and Interior Designer Susan Higginson Nash. Post-1930s photos within the albums encompass those taken by official Colonial Williamsburg photographers such as Thomas Williams, Loring J. Turner, Dan Spangler, Chuck Kagey, and Steve Toth to document the continuing evolution of architectural and archaeological investigations and restoration work at each site.&#13;
&#13;
The collection is organized according to the Foundation’s in-house Block and Building System. Initial folders on properties identify the various names associated with buildings through time. Some houses have been known by a succession of names and, in most instances, are now called by the builder’s name or that of the most famous occupant.&#13;
&#13;
In some instances, the images are the first generation master prints, and notes on backs of photographs sometimes identify the people shown and describe what is shown—especially in those documenting archaeological excavations. Usually, the Foundation’s archaeological drawings (also in the Library’s Special Collections Section) show the exact positions and directions from which certain shots were made. Evolution of the work of restoration and reconstruction can be followed chronologically in most instances, although the collection has not been expanded since its transfer from the Architectural Research Department in the 1980s.&#13;
&#13;
Images of Carter’s Grove Plantation are included due to its ownership by the Foundation until sale in the early twenty-first century. Van Cortlandt Manor, in Westchester Co., New York is also documented due to its acquisition by John D. Rockefeller, Jr. in 1953. The restoration there was carried out by architects from Colonial Williamsburg and the Foundation’s drawing files contain the plans for this work. The house today is a National Historic Landmark belonging to Historic Hudson Valley.&#13;
&#13;
Following the portion concerning Williamsburg’s Historic Area buildings are a series of notebooks identified by subject. Topics included are: aerial views of the Historic Area from 1925 - 1956, Williamsburg street views, architectural details, Williamsburg Shopping Center, mantels (salvaged models bought in early restoration), 18th-c. theaters, Kingsmill, H. Avery Tipping’s English Houses, and Johannes Kip engravings (bird’s-eye views of English country houses).&#13;
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                  <text>Special Collections, John D. Rockefeller Jr. Library, The Colonial Williamsburg Foundation</text>
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              <text>Gelatin silver print mounted on linen</text>
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                <text>View looking through a shop window towards a customer in the Gift Shop at the Williamsburg Inn, Williamsburg, Virginia.</text>
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                  <text>J. Floyd Yewell Architectural Renderings</text>
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                  <text>Architectural renderings</text>
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                  <text>Along with the many pencil on tracing paper, ink on linen, and blueprint drawings in the Rockefeller Library’s architectural collections are some colorful presentation drawings and conceptual renderings. One architect who excelled in the production of architectural watercolor renderings, J. Floyd Yewell, played an important role in designing the New Information Center, Motor House, and Abby Aldrich Rockefeller Folk Art Center in the mid-1950s. Based in New York City, Yewell received a commission from Mario Campioli, Director of Architecture, and A. Edwin Kendrew, Resident Architect, to create concept designs for ideas under discussion to present to John D. Rockefeller Jr.  Since the two men were involved in consultation work for another Rockefeller funded restoration project at Van Cortlandt Manor in Westchester County, New York, they turned to Yewell, well-known for his architectural artwork published in a variety of magazines.&#13;
&#13;
 His series of perspective views of three major expansion projects underway at Colonial Williamsburg in the mid-1950s reflect the museum’s efforts to enhance the tourist experience and develop facilities to accommodate a higher volume of visitors. John D. Rockefeller Jr. funded the construction of the Abby Aldrich Rockefeller Folk Art Center to house and showcase his wife’s folk art collection and to offer another activity for guests.  A forty-acre site, the New Information Center and Motor House complex allowed for the removal of modern intrusions into the Historic Area and  provided much needed parking for 1200 vehicles, facilities for guest orientation and comfort, an economical, family-oriented lodging option for travelers, a hotel administration building, a large cafeteria and gift shop, and swimming pools. The Abby Aldrich Rockefeller Folk Art Center opened on March 15, 1957 and the New Information Center and the Motor House complex followed soon after on March 31, 1957.&#13;
&#13;
J. Floyd Yewell contributed his talent as a delineator to many projects on the East Coast ranging from high rise buildings in New York City to domestic cottages. The small house movement in the 1920s captured his attention and he submitted drawings to the Own Your Own Home Competition. Examples of his cottage designs can be viewed in 500 Small Houses of the Twenties compiled by Henry Atterbury Smith, part of the Dover Pictorial Series. He also contributed to publications offering guidance on specific artistic techniques, such as Color in Sketching and Rendering by Arthur L. Guptill, 1935.  Yewell’s architectural watercolors and prints are now housed in art museums along the East Coast, such as the National Gallery of Art, the Albany Institute of History and Art, the Cooper Hewitt Smithsonian Design Museum and the Metropolitan Museum of Art. His renderings held by Colonial Williamsburg serve a double purpose of documenting the evolution of major expansion projects in the 1950s and preserving his contributions to advancing the techniques of architectural illustration.&#13;
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