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&#13;
	Nivison set up a small photographic studio in a room in the Bruton Parish House. His equipment included a Zeiss camera, 5x7 inch, with a F 4.5 lens and a special magazine for cut films, along with a Mitchell tripod with a ball and socket head. His darkroom equipment consisted of an Eastman Auto-focus Enlarger, printing machines, and various accessories such as tanks and scales. Over the course of five years, he took more than 7,000 photographs documenting each stage of the restoration or reconstruction of various 18th-century buildings in Williamsburg. Copies of these photographs were forwarded to the offices of Perry, Shaw, &amp; Hepburn in Boston so that the architects could monitor the progress of various projects. Nivison’s photographs were also used to produce postcards, “before and after” lantern slides, and publicity relating to the restoration of Williamsburg.&#13;
&#13;
	By late 1935, Nivison had started taking on a lot of outside photography business and Colonial Williamsburg officials felt he should establish himself as an independent photographer. Nivison’s employment with Colonial Williamsburg terminated on July 1, 1935. However, Colonial Williamsburg continued to utilize his services on an as needed basis and assisted him in setting up his own business in Williamsburg. Unfortunately, Nivison did not attract enough outside commissions to enable him to operate independently and filed for bankruptcy in 1937. He applied to Colonial Williamsburg for a monthly retainer fee for his periodic services and was given $100.00 per month to draw upon in 1938. With the advent of World War II, Nivison moved back to Massachusetts in 1940.&#13;
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&#13;
	Nivison set up a small photographic studio in a room in the Bruton Parish House. His equipment included a Zeiss camera, 5x7 inch, with a F 4.5 lens and a special magazine for cut films, along with a Mitchell tripod with a ball and socket head. His darkroom equipment consisted of an Eastman Auto-focus Enlarger, printing machines, and various accessories such as tanks and scales. Over the course of five years, he took more than 7,000 photographs documenting each stage of the restoration or reconstruction of various 18th-century buildings in Williamsburg. Copies of these photographs were forwarded to the offices of Perry, Shaw, &amp; Hepburn in Boston so that the architects could monitor the progress of various projects. Nivison’s photographs were also used to produce postcards, “before and after” lantern slides, and publicity relating to the restoration of Williamsburg.&#13;
&#13;
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&#13;
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&#13;
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Arthur Shurcliff arrived in Williamsburg in 1928 to join the Williamsburg office of architects Perry, Shaw and Hepburn. A graduate of the Massachusetts Institute of Technology and Harvard University, Shurcliff worked in the office of well-known landscape architects, Charles W. Eliot and Frederick Law Olmsted Sr. in Brookline, Massachusetts between 1896-1905. He then opened his own landscape design practice and received commissions for many landscape projects in Boston, such as the grounds of the Boston Museum of Fine Arts, the Charles River Esplanade, and the Franklin Park Zoo. Between 1928 and 1941, Shurcliff oversaw the planning and layout of gardens at Colonial Williamsburg, as well as of traffic patterns, parking, and street curb design, and continued to advise in a consultant capacity until just before his death in 1957. &#13;
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Shurcliff’s series of pencil sketches on tissue paper are conceptual views, many from a bird’s-eye perspective, that he and his associates designed to serve as illustrations for discussions about how guests would access the overall Historic Area, as well as specific gardens, and navigate through them. Some also offer ground level views of vistas and landscape features to show the strengths and weaknesses of several variations for a particular design concept. &#13;
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This collection of sixty-two black and white photographs primarily  documents buildings in pre-restoration era Williamsburg at the beginning of the 1920s. It is not known whether Swem took the photographs in this collection himself or gathered them from various local sources as part of his ongoing research on Virginia history topics. Williamsburg structures represented include the Benjamin Waller House, the Chiswell-Bucktrout House, Moody House, Bracken Tenement, Lightfoot House, Nicholas-Tyler Office, Benjamin Powell House, Mayo House, Wetherburn's Tavern, Palmer House, Dr. Barraud House, Taliaferro-Cole House, Travis House, Alexander Craig House, Public Records Office, Prentis Store, Charlton House, Dudley Digges House (now known as the Bray School), Coke-Garrett House, Peyton Randolph House,Grissell-Hay Tenement, St. George Tucker House, Timson House, St. John House, Roscow Cole House, Ewing House, and the Tayloe House. A few historic sites outside of Williamsburg are also included and encompass Bacon's Castle, Smith's Fort Plantation, and unidentified houses in Smithfield and at Kingsmill Farm. The Confederate stone obelisk on Palace Green, the commemorative obelisk on the site of the Governor's Palace, and mulberry trees on Francis Street are some miscellaneous features of early 1920s Williamsburg that are visually documented in the collection. Several business enterprises once located along Duke of Gloucester Street are recorded in Swem's photographs, including the Williamsburg Hotel on Market Square.&#13;
&#13;
Dr. Earl Gregg Swem served as a librarian  at the College of William and Mary from 1920-1944. A graduate of Lafayette College, he began building his library career through several positions in the Chicago area in the late 19th-century. In 1903, he accepted an appointment to a position in the Copyright Office of the Library of Congress. He then held the position of Assistant State Librarian of Virginia  from 1907-1919. In 1920, he arrived in Williamsburg to head the College of William &amp; Mary's Library, where he worked diligently to expand its historical collections into what would one day be the nucleus of the library's Special Collections Research Center. During his tenure at the College of William &amp; Mary, Swem also managed the William &amp; Mary Quarterly and published the Virginia Historical Index in 1936. After his death in 1965, the College named its new main library the Earl Gregg Swem Library in his honor.&#13;
&#13;
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                  <text>Todd and Brown, Incorporated, a subsidiary firm of Todd, Robertson and Todd Engineering Corporation, headquartered in New York City, entered into a contract with the Williamsburg Holding Corporation on June 6, 1928. The engineers and contractors carried out work as directed by the architects and landscape architects on the reconstruction and restoration of historic structures and gardens in Williamsburg, Virginia. Mr. Webster B. Todd and Mr. J.O. Brown served as the principals of Todd and Brown, Incorporated. They appointed Robert Trimble to head the firm's Williamsburg office. Between 1928 and 1934, the Williamsburg crew undertook many different construction tasks in support of the museum's development and the relocation of the town's business district to Merchants Square. The Williamsburg office closed in 1934, when Williamsburg Restoration Inc. established its own Construction and Maintenance Department. However, the firm continued to be involved in a supervisory capacity with the building of the Williamsburg Inn from 1936 to 1938.&#13;
&#13;
The Todd and Brown Inc. Photograph Collection, AV2010.3, encompasses over eight hundred negatives and their corresponding photographic prints housed in an album. Systematic examination of the town and extensive planning occurred before the contractors began their assignment to demolish or move buildings not dating to the colonial era. Each photograph they took served a documentary purpose of recording a colonial structure, modern dwelling, business, church, municipal building, or outbuilding as it appeared prior to any work proceeding at a site. The collection is thus a significant archive of the many homes, grocery stores, general stores, gas stations, barber shops, banks, and offices that once stretched up and down Duke of Gloucester Street.  It also offers many pre-restoration views of eighteenth-century buildings that had undergone modifications by later residents. A selection of images offers views of early progress on the reconstruction of such public buildings as the Capitol and Raleigh Tavern.</text>
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&#13;
The Todd and Brown Inc. Photograph Collection, AV2010.3, encompasses over eight hundred negatives and their corresponding photographic prints housed in an album. Systematic examination of the town and extensive planning occurred before the contractors began their assignment to demolish or move buildings not dating to the colonial era. Each photograph they took served a documentary purpose of recording a colonial structure, modern dwelling, business, church, municipal building, or outbuilding as it appeared prior to any work proceeding at a site. The collection is thus a significant archive of the many homes, grocery stores, general stores, gas stations, barber shops, banks, and offices that once stretched up and down Duke of Gloucester Street.  It also offers many pre-restoration views of eighteenth-century buildings that had undergone modifications by later residents. A selection of images offers views of early progress on the reconstruction of such public buildings as the Capitol and Raleigh Tavern.</text>
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