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                  <text>BIOGRAPHICAL SKETCH&#13;
	John A. Barrows joined the staff of the Williamsburg office of Boston architects Perry, Shaw &amp; Hepburn as a draftsman in the early days of the restoration.  Remaining with them until his untimely death, Barrows assisted in the restoration of the College of William and Mary's Wren Building, and was involved with design work for the reconstructed Raleigh Tavern, Capitol, and Governor's Palace. In addition to his research and restoration work, John A. Barrows co-authored "The Domestic Colonial Architecture of Tidewater Virginia" with colleague Thomas Waterman.  &#13;
&#13;
	As part of his field research, Barrows--at the wheel of his 1928 Buick roadster "Lucy"--photographed numerous buildings and plantations throughout the Tidewater region, including sites in the now restored historic area of Williamsburg, Bacon's Castle, Cleve, Carter's Grove, King William Courthouse, Mt. Airy, Mt. Vernon, Rosewell, Stratford Hall, Sabine Hall, Shirley, Little England, the U.S. Capitol, and the British Embassy in Washington, D.C.  These photographs form the core of the collection. The John A. Barrows Photograph Collection is an important adjunct to existing groups of photographic documentation for buildings in Williamsburg's historic area and of Virginia architecture.&#13;
&#13;
SCOPE AND CONTENTS&#13;
&#13;
Black and white photographs, negatives, postcards, and miscellaneous items of Norfolk native John Alden Barrows (b. ca. 1905, d. 1931), architect for the Colonial Williamsburg Restoration. The photographs--some taken by Barrows, Thomas Waterman, Milton Grigg and others--remain in their original order, which follows a somewhat erratic alphabetical arrangement by site/subject.&#13;
	&#13;
The John A. Barrows Photograph Collection contains photoprints, taken mainly in Virginia and South Carolina, negatives, portraits, and personal papers and objects. The Photoprints series comprises the bulk of the collection, numbering close to 800 items. The photos, taken by architect and photographer John A. Barrows, display homes, churches, college buildings, and other structures along the eastern seaboard of the United States. Most of the photos were taken in Virginia and South Carolina, but other locations include New Jersey and Maryland. The prints were made in two sizes, 2.5x4 inches and 5x7 inches. The Negatives series has not been inventoried. John A. Barrows is the subject of the portraits found in the Portraits Series. The five images were all taken at different times. The final series, Personal Papers and Objects, includes some of Barrows' writings as well as memorabilia from trips and celebrations.</text>
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&#13;
	As part of his field research, Barrows--at the wheel of his 1928 Buick roadster "Lucy"--photographed numerous buildings and plantations throughout the Tidewater region, including sites in the now restored historic area of Williamsburg, Bacon's Castle, Cleve, Carter's Grove, King William Courthouse, Mt. Airy, Mt. Vernon, Rosewell, Stratford Hall, Sabine Hall, Shirley, Little England, the U.S. Capitol, and the British Embassy in Washington, D.C.  These photographs form the core of the collection. The John A. Barrows Photograph Collection is an important adjunct to existing groups of photographic documentation for buildings in Williamsburg's historic area and of Virginia architecture.&#13;
&#13;
SCOPE AND CONTENTS&#13;
&#13;
Black and white photographs, negatives, postcards, and miscellaneous items of Norfolk native John Alden Barrows (b. ca. 1905, d. 1931), architect for the Colonial Williamsburg Restoration. The photographs--some taken by Barrows, Thomas Waterman, Milton Grigg and others--remain in their original order, which follows a somewhat erratic alphabetical arrangement by site/subject.&#13;
	&#13;
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SCOPE AND CONTENTS&#13;
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Black and white photographs, negatives, postcards, and miscellaneous items of Norfolk native John Alden Barrows (b. ca. 1905, d. 1931), architect for the Colonial Williamsburg Restoration. The photographs--some taken by Barrows, Thomas Waterman, Milton Grigg and others--remain in their original order, which follows a somewhat erratic alphabetical arrangement by site/subject.&#13;
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&#13;
SCOPE AND CONTENTS&#13;
&#13;
Black and white photographs, negatives, postcards, and miscellaneous items of Norfolk native John Alden Barrows (b. ca. 1905, d. 1931), architect for the Colonial Williamsburg Restoration. The photographs--some taken by Barrows, Thomas Waterman, Milton Grigg and others--remain in their original order, which follows a somewhat erratic alphabetical arrangement by site/subject.&#13;
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              <text>Gelatin silver print</text>
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                <text>Pre-restoration view of the southeast elevation of the Grissell Hay Lodging House, formerly know as the Archibald Blair House, Williamsburg, Virginia, circa 1928.</text>
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see also 77-1892</text>
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                  <text>Dementi, Frank A. (1905-1986)</text>
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                  <text>A selection of photographs taken mostly before 1946 of Williamsburg buildings, events, and people by Richmond, Virginia photographer Frank Dementi and donated to Colonial Williamsburg in 1965. The nephew of Anthony L. Dementi, who founded the Dementi Studio in 1924, Frank Dementi graduated from the Winona School of Photography in Indiana. After working for several years with his brother, Tony Dementi, Frank started a position as a photo journalist with the Richmond News Leader where he worked alongside colleague Park Rouse who recalled "He liked action photography which involved movement, excitement, or even danger ."&#13;
&#13;
Soon after the outbreak of World War II, Dementi opened Colonial Studio in the Business Block at the West end of Duke of Gloucester Street in Williamsburg, Virginia on June 9, 1942. He focused primarily upon photographing soldiers and sailors stationed with military bases in the area but also took on a number of important assignments for Colonial Williamsburg and even took pictures of German prisoners of war. Two of his most exciting opportunities came when members of the Churchill family visited Williamsburg during and shortly after World War II.&#13;
&#13;
In 1945, Dementi relocated  his Colonial Studio, offering illustrative and portrait photography, to 9 East Grace Street in Richmond, Virginia, where he operated the business until his retirement in 1984. His early experimentation with color photography led him to win an award in 1955 for a composition set in Colonial Williamsburg that he titled "The Sabbath." Colonial Williamsburg's Director of Promotions, Thomas McCaskey, assisted him with arrangements for the photo shoot and praised the resulting scene of costumed interpreters positioned along Palace Street for  "...completely captur[ing] the charm and informality of historic Williamsburg." Throughout his career, he continued to document dignitaries, leaders, and celebrities who visited Virginia, shot numerous scenic views to support state tourism efforts, and continued to take many studio portraits. An engaging storyteller who put his subjects at ease, Frank participated in significant historical events and met many interesting personalities as he built his business. &#13;
&#13;
Over the course of his career, Dementi completed numerous photo shoots at Colonial Williamsburg, ranging from special events and exhibition building openings to the visits of Clementine and Sarah Churchill in September 1943 and Winston Churchill and Dwight D. Eisenhower on March 8, 1946. Mary Churchill, a subaltern in the British Army, took a break from her duties serving as her father’s aide-de-camp during the U.S. visit to accompany her mother on an impromptu trip to Williamsburg organized by the British Embassy. The two started their morning at the Williamsburg Inn, where they met Vernon Geddy, First Vice-President of Colonial Williamsburg, who served as their escort, and local photographer Frank Dementi, who operated Colonial Studio in Williamsburg from 1942-1945. Lord Moran, Winston Churchill’s private physician, and two aides from the White House also accompanied the party.  During a guided tour of selected exhibition buildings, including the Governor’s Palace, where costumed interpreter Midge Adolph greeted the women, Clementine and Mary learned about the former British capital. A luncheon at the Travis House Restaurant allowed the group to sample some of the famous scalloped oysters and other fare that won rave reviews from many military and diplomatic guests. Mary Churchill remarked to Vernon Geddy that her post-war plans needed to include a two week stay in Williamsburg. During their “flying visit” to Williamsburg, as Mary Churchill described it, the two learned of Italy’s surrender to the Allies while touring the Raleigh Tavern. It proved to be a momentous day for wartime Williamsburg and one memorialized by Frank Dementi in a series of photo albums he later sent for presentation to the Churchill family.&#13;
&#13;
&#13;
During his 1946 tour of the United States with General Dwight D. Eisenhower, Sir Winston Churchill made plans to visit Colonial Williamsburg, now twelve years old after the opening of its Historic Area. Mr. Churchill and General Eisenhower arrived by a special train on Friday, March 8, 1946. Their party enjoyed a tour of the Historic Area, followed by a visit to the Wren Building at the College of William and Mary. During their carriage ride, the horses were frightened and the tour continued by car. General Eisenhower recalled how “Sir Winston didn’t pay any attention [to the frightened horses], he just lit his cigar.”&#13;
After the tour, Mr. Churchill and General Eisenhower were invited to tea at Raleigh Tavern by Mr. Kenneth Chorley, President of the Colonial Williamsburg Foundation, where Frank Dementi had the singular honor of being the only photographer allowed in to capture images of the event. The party proceeded to dinner at the Williamsburg Inn. Sir Winston Churchill graced Colonial Williamsburg with an eloquent speech at dinner, concluding with a generous wish: “Long may Colonial Williamsburg flourish! Firm may be the links which it may forge with our past, and may those links of distant by-gone days be reinforced by new links and new bonds which will reach across the ocean and join our two peoples together.”&#13;
&#13;
Frank Dementi's Williamsburg photos constitute the subject matter of this collection while over 70,000 photos relating to the broader history of Richmond and the state of Virginia reside with the Valentine Museum. Members of the Dementi family hold the remainder of his photographic legacy.</text>
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                  <text>Ernest Maurice Frank, a graduate of Cornell University, rose from the ranks of Draftsman to Assistant Vice-President over the course of a three-decade career at Colonial Williamsburg. During the late 1930s, a team of architects drafted plans to fill in the gaps with reconstruction or restoration of structures not included in the initial group completed in the early 1930s. Known as “Phase II” in Colonial Williamsburg’s evolution, the period launched an expansion of plans for future projects at sites such as the George Wythe and Peyton Randolph Houses, many of which became reality after the end of World War II. Singleton P. Moorehead, an architect who joined the Restoration team in 1928 and became part of the architectural office in 1934, and A.E. Kendrew, Foundation Architect, proved to be pivotal in moving Colonial Williamsburg forward with the Phase II transition. They hired Ernest Frank in 1939 to join their team of draftsmen beginning work on Phase II planning. Unfortunately, World War II intervened, and Frank and many other employees left the organization to fulfill their military duties in 1942. &#13;
Frank re-joined Colonial Williamsburg in 1946 and established his own architectural practice in Williamsburg on the side in 1947. He rapidly advanced to Senior Draftsmen in 1947, Designer in 1948, and assumed the position of Assistant Director of the Architecture, Construction, and Maintenance Division from 1949-1956. In 1957, he became Director of the division until 1964, when he received a promotion to Assistant Vice-President for Colonial Williamsburg Inc. under Charles Hackett. One of Frank’s major projects involved overseeing the reconstruction of additional eighteenth-century features of the Robert Carter House complex. He and his team researched and designed the two long covered ways connecting outbuildings to the main house, as well as Dr. McKenzie’s Shop and several outbuildings. His architectural drawings for the Powder Magazine and Guardhouse, Bryan House, Ewing House, John Crump House, and the new Visitor’s Center complex and Motor House all attest to his extensive contributions. A member of the American Institute of Architects, Frank regularly spoke at architectural forums and design schools and became a recognized authority on colonial Virginian architecture. In his final years at Colonial Williamsburg, Frank served as a deputy to Charles Hackett, who led Colonial Williamsburg Inc. and Williamsburg Restoration Inc., until his death in 1968.&#13;
A record of Frank’s meticulous research conducted as part of the process of developing designs for reconstructions can be found in the Ernest M. Frank Photograph Collection, AV2009.58, housed at the Rockefeller Library. Frank joined other members of the architectural team in the late 1940s and early 1950s in a series of trips throughout the mid-Atlantic region and to Great Britain to visit sites and record details that might be used as precedents for features of buildings planned for reconstruction. The team had to engage in a certain amount of educated guesswork for certain features of structures for which they could not find archaeological, historical, or visual evidence. A series of ten photo albums encompasses images from the late 1940s to early 1950s of sites at Colonial Williamsburg, various counties in Virginia, Maryland, North Carolina, and South Carolina, and Great Britain. The two albums focusing upon his 1951 trip to England are organized by various types of details under study, such as lamp brackets, signs, shop windows, foot scrapers, chimneys, gates, and fences. Together, the photo albums offer insight into the process used to gather clues for drafting designs for some of the buildings that constitute the second phase of Colonial Williamsburg’s development after World War II.&#13;
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                  <text>“Since 1924, a young man in Williamsburg, Mr. Clyde Holmes, has been collecting newspaper clippings and taking photographs in connection with the Restoration. This man has apparently all the newspaper write-ups that appeared in the local papers touching the Restoration from the time Dr. Goodwin first attempted to have someone buy the town in 1924; he also has from two to three thousand photographs he has taken of the various buildings and streets in Williamsburg before and after the Restoration began.”&#13;
Letter, Vernon Geddy to Perry, Shaw &amp; Hepburn, July 29, 1930, Colonial Williamsburg Corporate Archives&#13;
&#13;
The Clyde Holmes Photograph Collection originated with Clyde Holmes, a long-term Williamsburg resident with a passion for history. His employment at the Imperial Theater on Duke of Gloucester Street helped to develop his interest in film and photography.  As noted in the quote above, Holmes drew inspiration from the early efforts of Dr. W.A.R. Goodwin, rector of Bruton Parish Church, to convince both townspeople and wealthy philanthropists to support preservation of dilapidated structures with ties to the days when Williamsburg was a bustling colonial capital. Goodwin first approached Henry Ford in 1924 with the idea of funding preservation of certain Williamsburg buildings. Undaunted by Ford’s refusal, Goodwin pitched his ideas to John D. Rockefeller, Jr., who agreed to finance restoration of the colonial segment of Williamsburg in 1927. He authorized hiring Perry, Shaw, &amp; Hepburn, a Boston architectural firm, to begin drafting preliminary plans. Once approved, the firm assembled a team of architects and draftsmen who started what local residents jokingly termed a second “Yankee invasion” in the late 1920s as they arrived in the area to study and measure existing buildings, uncover buried foundations, and conduct fieldwork at other colonial sites in the region.&#13;
&#13;
After his photographic efforts came to the attention of this team, Todd &amp; Brown, the firm hired to oversee much of the construction work connected with the Restoration, encouraged Holmes by asking him to assist them with taking “before” photos of various sites. He also took a few to document early progress with archaeological and architectural investigations. While lacking the superior quality of contract photographers hired to aid the team, his amateur photos were recognized early on as having significant value as a working archive of the town’s pre-restoration appearance. Clyde Holmes cooperated with and supported the restoration effort by turning over his collection of clippings and photographs in 1933. &#13;
&#13;
Dating from ca. 1924-1933, his photos capture the birth of the idea of Williamsburg as a tourist destination. Automobiles, a hotel, a souvenir shop, and Association for the Preservation of Virginia Antiquities sites all attest to growing activity in the town as it stood on the brink of transformation into a laboratory for one of the nation’s earliest historic preservation campaigns. Examples of lost architecture that was either soon to be moved or torn down to make way for reconstruction of colonial buildings are also well represented in the collection.&#13;
&#13;
Holmes donated his photos in a bound fire insurance volume. Adhered to the pages with glue, the photos have since been removed for optimal preservation but still await further conservation treatment to remove residual paper backings. Quite a few of the Holmes images were copied by restoration contract photographers and mounted on linen for insertion into albums used on a daily basis by the architectural team. The visible stains, tears, and creases bear witness to the role this group of photos played in providing visual evidence that guided restoration and reconstruction work.&#13;
&#13;
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&#13;
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          <element elementId="104">
            <name>Is Part Of</name>
            <description>A related resource in which the described resource is physically or logically included.</description>
            <elementTextContainer>
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                <text>Susan Higginson Nash Photograph Collection, AV2009.35</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="156504">
                <text>jpeg</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="112">
            <name>Extent</name>
            <description>The size or duration of the resource.</description>
            <elementTextContainer>
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                <text>1 photograph</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="156506">
                <text>image</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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              <elementText elementTextId="156507">
                <text>Na1080</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="125">
            <name>Rights Holder</name>
            <description>A person or organization owning or managing rights over the resource.</description>
            <elementTextContainer>
              <elementText elementTextId="156508">
                <text>Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
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    </elementSetContainer>
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        <name>Brickwork</name>
      </tag>
      <tag tagId="257">
        <name>Cornices</name>
      </tag>
      <tag tagId="230">
        <name>Dormers</name>
      </tag>
      <tag tagId="2606">
        <name>Grissell Hay Lodging House</name>
      </tag>
      <tag tagId="31">
        <name>Kitchens</name>
      </tag>
      <tag tagId="113">
        <name>Nicholson Street</name>
      </tag>
      <tag tagId="2296">
        <name>Susan Higginson Nash</name>
      </tag>
      <tag tagId="10">
        <name>Virginia</name>
      </tag>
      <tag tagId="9">
        <name>Williamsburg</name>
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