1 20 46 https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/34d18487a342620fd8508bf3243b3d8a.jpg?Expires=1779926400&Signature=k3y57hr1L4JuS52ILEr8Y3qr3LSnoTu8e88Q%7E-lhKP%7Epy6brKMHV895vIkUPx5bUci53CPIVoZqZlhoOlY7mrNCXX-RmHxXKkHuQZWlWkDYTkXrOq6ra4wOjbwROE--2V1TAzFt%7E-RnRxCeJoCkKVyRm-iiLSmgL5S0YX9Ckn4FsszTJMpQkgfdJZwkGdFaxjKa84h--yngxCI3hfAXfXW7o80GjiHvHoNhHaF%7E-hPMfRNTanAikLs75%7EtFvqpYRnVJV8ZeUV89FpqDaJ7v4Ggu-W%7EArIv8tbsQux6tgFRa8AhK8Cihznr0H5GuAR6MFK2toNj5V3y6FZO5w1mZtTw__&Key-Pair-Id=K6UGZS9ZTDSZM 830eb29e3858a76408fd031b180e9ff8 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 965 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 &amp; 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 &amp; Walker, McKim, Mead, &amp; 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 A & P Store, Also Known As Teterel Shop Subject The topic of the resource Stores, Retail - Virginia - Williamsburg Teterel Shop (Williamsburg, Va.) A&P Food Market (Williamsburg, Va.) Block 18. Building 3A. William Waters Storehouse (Williamsburg, Va.) Historic buildings -- Virginia -- Williamsburg Description An account of the resource When Colonial Williamsburg first opened as a museum in the 1930s, Duke of Gloucester Street consisted of a combination of exhibition buildings and commercial establishments. Several grocers operated small food markets in restored or reconstructed structures. The Teterel Shop, housing the A&P Food Market, offered a place for town residents and tourists to pick up refreshments. A deed records the construction of a shop on the site shortly before 1767. The succession of owners included William Waters, William Holt, and William Coleman. In 1806, Francis Teterel acquired the property and it is his name that was associated with the building when it was first restored. Today it is known as the William Waters Storehouse. 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 LC364P1 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&P Food Market Chimneys Cornices Dentils Exteriors F.S. Lincoln Fences Groceries Historic Buildings Hitching Posts Railings Retail Stores Shutters Signboards Signs Stairs Teterel Shop Virginia Weatherboarding William Waters Storehouse Williamsburg https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/1046b7f637f7e323c0f2ec08ebcb2275.jpg?Expires=1779926400&Signature=L9Szi2NQ9UZdBf6IJOEjrT2GjlhKq8osk-gA6ZRnwAJe3vJutenOFyH%7E1GS%7ENO9w9KVkirV6zf-pMgXSZrMztIYcC-3Q1VwQArnlBTTKNZh4GLoQNgikr8s2kXBpjv68E4sUVtCp6%7E3sASo%7ENVAu66kl3ewyNmJYZ2El4NoO3NScx9xMdgijOhlU-AkIIh4GVvjOKfLxaLOu%7ELpCsMj9RLOZAnMVzvTqoiUaIUXTG1I51zNjEMycEs8wJefjwKWWU8IKkIrZDAHmwXWnqTP-z937uJp5exU0QVSc9anRWVg7sOLiJy686gx2nzlCkTvMRIedbiJo0ayDAKS7aknEHw__&Key-Pair-Id=K6UGZS9ZTDSZM 261ea43ac9583c77d1ea4305619d5b00 Omeka Image File The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files. Bit Depth 8 Channels 3 Height 768 Width 968 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource F.S. Lincoln Photography Collection Description An account of the resource The FS Lincoln Collection Biographical Sketch Mr. Fay S. Lincoln (known professionally as F.S. Lincoln) operated a photography studio in New York City from the 1930s until the mid 1960s. He was born in Keene, New Hampshire in 1894 and attended the Massachusetts Institute of Technology. Although he received training as an engineer, Mr. Lincoln chose to become a professional photographer in 1929, when he opened the firm of Nyholm &amp; 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 &amp; Walker, McKim, Mead, &amp; White, Robert Locher, and Eugene Schoen. He also pointed out that he had sold architectural photos to many prominent magazines, including "Architectural Record," "National Geographic," "Country Life," "Architectural Forum," and "Spur."2 Lincoln's credentials, along with sample photographs and recommendations from magazine editors, enabled him to secure a contract with Colonial Williamsburg on April 22, 1935. According to the terms of the contract, Lincoln was hired to prepare a master collection of photographs and negatives that Colonial Williamsburg could sell to tourists and residents of Williamsburg, as well as use for promotional purposes. Lincoln retained the right to sell copies of his photographs at his New York studio, provided he consulted with the Foundation regarding the proposed use of the photographs. He also retained title to all negatives and copyright for all photos until the termination of his business. Plans for a traveling exhibition of Lincoln's photographs of Williamsburg were also mentioned in the contract.3 During 1935, F.S. Lincoln traveled to Williamsburg at seasonal intervals to photograph views requested by the Foundation. A panel of Colonial Williamsburg employees reviewed each series of photos and selected a group to be added to the master collection. F.S. Lincoln photos illustrated two portfolios about Colonial Williamsburg published in the "Architectural Record" in December 1935 and November 1936. Full-page black and white photos of restored buildings and gardens accompanied articles on the restoration written by Kenneth Chorley, Fiske Kimball, William G. Perry, and Arthur Shurcliff. Thus, Lincoln's photos gave the American public their first introduction to the completed restoration. Lincoln had also been hired by Colonial Williamsburg to create a group of photographs of Williamsburg that could be exhibited. Correspondence between staff members indicates that John D. Rockefeller, Jr. hoped to mount a traveling exhibit of Williamsburg photographs. An exhibit of a selection of Lincoln's views of Williamsburg, along with photos he took for "Harper's Bazaar," "House and Garden," "House Beautiful," "Vanity Fair," "National Geographic," and "Town and Country," was held at the Rabinovitch Gallery in New York City from October 4-17, 1935. Although Foundation employees were satisfied with the quality of Lincoln's photographs, they were dismayed by the cost of individual prints and enlargements. Memos exchanged between members of the marketing staff indicate that employees were having a hard time convincing distributors to purchase enlargements of the Lincoln photos for display in shop windows. As a result, the Foundation's agreement with F.S. Lincoln was terminated on April 21, 1936.4 Despite this setback, F.S. Lincoln secured contracts for many other architectural photography projects in the 1930s. He received numerous commissions to photograph buildings in New York City and also traveled abroad on several assignments. In 1934, he completed a portfolio of photos of Mont St. Michel and in 1938 he toured the deep South and photographed examples of antebellum architecture. Lincoln's photos were widely published in the 1930s and 1940s in such magazines as "Architectural Record," "House Beautiful," "National Geographic," "Country Life," and "Architectural Forum." In addition, he published a book of his photographs in 1946 entitled "Charleston: Photographic Studies by F.S. Lincoln."5 F.S. Lincoln continued to operate a photography studio in New York City until 1965, when he retired and moved to Center Hall, Pennsylvania to live with his sister. He forwarded all of his negatives of Williamsburg buildings to the Foundation in 1972, along with a letter stating that “the copyright of the photographs has run out, so you are free to use them as desired.”6 Upon his death in 1976, the remainder of Lincoln's archive of prints and negatives, as well as some business papers, were donated to the Pennsylvania State University Archives. Scope and Contents The F.S. Lincoln collection consists of black and white negatives and prints taken by Mr. Lincoln in preparation for the publication of "The Restoration of Colonial Williamsburg in Virginia," a series of articles appearing in the December 1935 and November 1936 issues of "The Architectural Record." Both issues featured a portfolio of buildings and gardens in the newly restored historic area of Williamsburg. In order to produce a large pool of photos for use in these portfolios, Mr. Lincoln created comprehensive visual documentation of the work completed during the initial phases of the restoration (1927-1935.) He photographed the exteriors and interiors of thirty restored buildings, including the exhibition buildings open to the public, such as the Governor's Palace, the Capitol, Raleigh Tavern, Bruton Parish Church, the Wren Building, and the Powder Magazine. In addition, he captured exterior views of some of the shops open on Merchant's Square and restored buildings adapted for public use, such as the Public Library. He also photographed many of the gardens and garden ornaments throughout the restored area. The collection is organized into series by format. Series included in the collection are negatives; bound matted and signed prints; unbound matted and signed prints; and small albums. Within each format, items are organized according to the numbering system assigned by Mr. Lincoln. The first three digits of numbers assigned to the images correspond to a particular building or subject category. For example, all images of the Capitol have numbers beginning with 325 and all miscellaneous views have numbers beginning with 365. After these first three digits, Lincoln added a P for print and then a successive number for each view. For example, the first view of the Capitol is number 325P1. An “LC” prefix has been added to all image numbers by the Colonial Williamsburg Foundation to identify the images as coming from the Lincoln Collection. Endnotes 1 Champagne, Anne, “Fay S. Lincoln Collection,” History of Photography 17, (Spring 1993): 127-128. 2 F.S. Lincoln to B.W. Norton, October 18, 1933. Colonial Williamsburg Foundation Archives. 3 Agreement dated April 22, 1935 between Colonial Williamsburg, Inc. and F.S. Lincoln, Colonial Williamsburg Foundation Archives. 4 Mr. Norton to Mr. Darling, February 22, 1937; Kenneth Chorley to F.S. Lincoln, April 6, 1937, Colonial Williamsburg Foundation Archives. 5 Champagne, Anne, “Fay S. Lincoln Collection,” History of Photography 17 (Spring 1993): 128. 6 F.S. Lincoln to James R. Short, May 15, 1972, Colonial Williamsburg Foundation Archives. Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Gelatin or collodian printing out paper with platinum toning, mounted on board. Physical Dimensions The actual physical size of the original image. 8x10 inches Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bruton Parish Church, Exterior Subject The topic of the resource Bruton Parish Church (Williamsburg, Va.) Block 21. Building 01. Church architecture - Virginia - Williamsburg Description An account of the resource <p>View of the exterior of Bruton Parish Church taken by F.S. Lincoln in 1935. A smaller seventeenth-century structure stood on the site from 1683 until 1715, when the larger and more elaborate cruciform-style church replaced it. Located at the edge of Palace Green on the corner of Duke of Gloucester Street and Palace Street, the church was originally designed by colonial Governor Alexander Spotswood.  </p> <p>A series of restoration efforts began under Dr. W.A.R. Goodwin's direction between 1903-1907 and continued periodically until completed in 1940. In this 1935 photo of the south facade of Bruton Parish Church, the building retains the Colonial Revival window shutters and screen doors installed by architect J. Stewart Barney during his 1906 renovation of the exterior, according to how be believed the church appeared in the eighteenth century.  The shutters and screen doors were later removed during final restoration efforts in 1939, given the availability of further research information.  </p> <p>The original wooden frame of a small <strong><a href="http://emuseum.history.org/view/objects/asitem/items$0040:96228#.Ux8f1WraVEc.gmail">bull's-eye window (accession # AF-21.1.1)</a></strong>, removed from the east end of the church around 1906, is now in the Colonial Williamsburg Foundation's architectural fragments collection. Otherwise, the building's exterior walls and windows are original and the interior has been restored to its eighteenth-century appearance.  Large bull's-eye windows are still visible today in the south-facing end of the church (facing Duke of Gloucester Street) and the east end (facing Palace Green).  Bruton Parish continues to serve an active Episcopal congregation and has functioned as a site of worship for the community since the parish was first founded in 1674.</p> <p> </p> Creator An entity primarily responsible for making the resource Lincoln, F.S. Date A point or period of time associated with an event in the lifecycle of the resource 1935 Date Created Date of creation of the resource. 1935 Rights Information about rights held in and over the resource This material is protected by copyright law (Title 17, U.S. Code). For reproduction queries: <a href="http://research.history.org/JDRLibrary/Visual_Resources/VisualResourcePermission.cfm">Rights and reproductions</a> Format The file format, physical medium, or dimensions of the resource jpeg Type The nature or genre of the resource Image Identifier An unambiguous reference to the resource within a given context LC335P1 Rights Holder A person or organization owning or managing rights over the resource. Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation Brick Walls Brickwork Bruton Parish Church Bull's-Eye Windows Church Architecture Churches Clock Towers Clocks Cruciform Duke of Gloucester Street F.S. Lincoln Hitching Posts Lampposts Oculus Windows Round-headed Windows Steeples Tombstones Towers Virginia Weather Vanes Williamsburg https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/7b49161626ee3d975b02d0277c485120.jpg?Expires=1779926400&Signature=q1YRTnmmNn6vfIgPy27vhQjKziG05Om6ZO2ivGfXEOk4msDZJpwc0BOaFjZJyd%7EEtEBfCo0VbDRSI68bEcm0qhtlQB6cRmUTVuak38ekVQqcGtOWUxZY4Uv6O-fBfF5B3czNj%7E8wINvUF%7Eih92i002sa5762e6nS86zo7lfloZb0rS3TcryywPm-s7NXwFw7VA2cR1vO6UyC0j9xQhdH2PNSJkwUXQfi5JhTrNslulVqnRph5AJwpk3hR1mLJNvo7imWKch7PCxdSapQpWTmxFxZIufiAbNfkJLfo2dkYVLOtnJ0-WlsGLKx1NH6-jakiehO37i2EXMAp-KZdfGlpA__&Key-Pair-Id=K6UGZS9ZTDSZM 8e6b1c11ff97f6ba2790053b23144f4d 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 980 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 &amp; 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 &amp; Walker, McKim, Mead, &amp; 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 Courthouse Subject The topic of the resource Courthouse (Williamsburg,Va.) Historic buildings-Virginia-Williamsburg Public buildings-Virginia-Williamsburg Courthouses-Virginia-Williamsburg Block 19. Building 03. Photographic prints Description An account of the resource This view of the south and east facade of the Courthouse shows the building with its unique cantilevered entrance porch. This original building was constructed shortly before the Revolution and it is thought that the stone columns intended to support the portico never arrived from England. At the time of this photograph, the building contained an archaeological exhibit but has since been restored to its original appearance as a colonial courtroom. 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 LC331P2 Rights Holder A person or organization owning or managing rights over the resource. Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation Brickwork Chimneys Courthouse Cupolas Dentils F.S. Lincoln Historic Buildings Hitching Posts Pediments Porches Public Buildings Round-headed Windows Shutters Signboards Signs Stairs Virginia Weather Vanes Williamsburg https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/2c062dc9098b1c2e5ee1f6bf43f15966.jpg?Expires=1779926400&Signature=S-3kqnE6HC8KIvNRIjlcPPjoypQb3eJoZcpxvr6HboxU8-pWW6hnoFnjk1rjC%7EJOJ0zAeCuFvsVg8VuXYFUkXzAQo62Rems6pdVBgLnkgkMnlf6Nxm%7E9GVBusaY9k7oy4Cj5QtD6LycgNTVKPXEtaxaj6EF%7E3b%7Eamr19eMQR43M7qvzwMGb65HvC-5-SRWg7KQMzhRba3HqoVwPg5UogaPW5BSc9AjK8SFxHp1tSd5-n1vwriqoWE3QvYyX7RRe7ahuhhkWKJwFqMKACBdHXEA%7EhRHE0DW9w2y4NsEgmzec7yzaVVUh4lH7GEFjxkO%7Ev67EdbkGUp2G4F51d18Bsuw__&Key-Pair-Id=K6UGZS9ZTDSZM b01d5445b76e538169fc432efa322361 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 617 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 &amp; 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 &amp; Walker, McKim, Mead, &amp; 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 Courthouse, Front Elevation Subject The topic of the resource Courthouse (Williamsburg, Va.) Block 19. Building 3. Historic buildings - Virginia - Williamsburg Public buildings - Virginia - Williamsburg Description An account of the resource View of the front elevation of the Courthouse of 1770 from across Duke of Gloucester Street, taken by F.S. Lincoln in 1935. One of the eighty-eight original structures at Colonial Williamsburg, the Courthouse stood on this site from 1770 onwards but underwent a number of minor modifications in the nineteenth century. It was restored to its colonial appearance and opened as an exhibition building in the early 1930s. The Restoration Archaeological Exhibit housed inside offered early museum visitors an opportunity to learn about eighteenth-century artifacts uncovered by archaeologists working in tandem with architectural historians. 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 LC331P3 Rights Holder A person or organization owning or managing rights over the resource. Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation Archaeology Museum Chimneys Cornices Courthouse Cupolas Dentils Duke of Gloucester Street F.S. Lincoln Hitching Posts Lampposts Market Square Pediments Round-headed Windows Signboards Signs Stairs Virginia Weather Vanes Williamsburg https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/fe8800ecc7f595089bd10f1ff10df744.jpg?Expires=1779926400&Signature=Qp5EyRhUmesIMHPQTWhF3J-STFZj-PLZkf1LrDU79%7EZRWf1DxKBoRh-WreC1wxo%7E-cz1PL-I-vdxwFSyoFIGF5tOlQDJnnwGlAjKKzxzBvwUFR1IhDyucdB8nTj3yKT3K%7EKGOjv1TMeihyMbSLcJUgVyqMQ2GRqUuep9-J455mdQdTms2iUqgv09r0ciTBE68zCRlN5yNc7%7EV5muTV5M2RmyXoDvMsU%7EG%7ExV1UcfDS3ayS1d7lH9uN5DTgU8qU5Ta3hJ7RO0C39Y-6TnYlFv55twhnL14UoGkCL25jGuBl7Hz3dfIcsCwALHVcNk7hZeiC0GskV5yvP8BCLePKdRSw__&Key-Pair-Id=K6UGZS9ZTDSZM 1b1836309fd96f77a67d08c97ef5e8a0 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 607 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 &amp; 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 &amp; Walker, McKim, Mead, &amp; 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 Courthouse, Front Elevation Subject The topic of the resource Courthouse (Williamsburg, Va.) Block 29. Building 02. Historic buildings - Virginia - Williamsburg Public buildings - Virginia - Williamsburg Description An account of the resource View of the front elevation of the Courthouse of 1770 from across Duke of Gloucester Street, taken by F.S. Lincoln in 1935. One of the eighty-eight original structures at Colonial Williamsburg, the Courthouse stood on this site from 1770 onwards but underwent a number of minor modifications in the nineteenth century. It was restored to its colonial appearance and opened as an exhibition building in the early 1930s. The Restoration Archaeological Exhibit housed inside offered early museum visitors an opportunity to learn about eighteenth-century artifacts uncovered by archaeologists working in tandem with architectural historians. 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 LC331P4 Rights Holder A person or organization owning or managing rights over the resource. Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation Archaeology Museum Benches Chimneys Cornices Courthouse Cupolas Dentils Duke of Gloucester Street F.S. Lincoln Hitching Posts Market Square Pediments Round-headed Windows Signboards Signs Stairs Virginia Weather Vanes Williamsburg https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/f8769bc704086ce6993afdc43b275647.jpg?Expires=1779926400&Signature=q%7ELBJPADXq1mOIABfC1WmoRq2ZSKpoNP515HnJoOwi0rfS-kNpOUaZKPptJiBZLqEvISxxpT35E4hcX-NCUB43toZ62ncV1jfayW-Nfvo1dCkF2fBlD9wZl5TGQjyh9oytCMeMjDHisw4BXccCqHnI1Rdx%7Ev0xENwbBGeVwXihpcjoVifRxgZYpnF7YJ1bXhmkX5AKZ8LLzp7N9v7SO6-2IXUJXRr5VOvZ0pxPIVYmEdhFoW0QZ2LFZ7PaqwwcNox1skay-hDN0Y40e3Ww3F4d%7E1k%7EiqEWdPTVhLLohNdUXILP6IqglPGbwxywusN5A8h-hO2-WgWJcaNVPju12pDA__&Key-Pair-Id=K6UGZS9ZTDSZM 5b6f7b4d50be0bfe7aea3241bc62b218 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 &amp; 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 &amp; Walker, McKim, Mead, &amp; 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 Courthouse, North Elevation Subject The topic of the resource Courthouse (Williamsburg, Va.) Block 19. Building 3. Historic buildings - Virginia - Williamsburg Public buildings - Virginia - Williamsburg Description An account of the resource View of the North elevation of the Courthouse of 1770 taken by F.S. Lincoln in 1935. One of the eighty-eight original structures at Colonial Williamsburg, the Courthouse stood on this site from 1770 onwards but underwent a number of minor modifications in the nineteenth century. It was restored to its colonial appearance and opened as an exhibition building in the early 1930s. The Restoration Archaeological Exhibit housed inside offered early museum visitors an opportunity to learn about eighteenth-century artifacts uncovered by archaeologists working at sites around the historic area. 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 LC331P1 Rights Holder A person or organization owning or managing rights over the resource. Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation Archaeology Museum Benches Chimneys Cornices Courthouse Cupolas Dentils F.S. Lincoln Hitching Posts Market Square Pediments Round-headed Windows Signboards Signs Stairs Virginia Weather Vanes Williamsburg https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/cfb851e7dd9a816ce4c7c0461bf2dcd0.jpg?Expires=1779926400&Signature=FzrdQnvoyWRx-uHUESdawHlFlNHgUpJp8g5zAN7AEs9QFWylsOWPtkTlhCz2QAVZpfVid4aRE7-mOiKpJONG3GXjXRkvuR4g8WSsZiqPzxbjsgpN05MouU102x1RSerxdYk8Yr1Zgw5g2PRvRn-sOAMDpzgYXgQmKJBWom%7ErmMghyE4vqCDawDiSZEdYRLPj-2QxHHZYfn3AU%7E6PwPJQXjJ5jsReBN76E8bdH3EUKXnrMYryGAxMG-UwmfNwaFu3gzRtMe5NouHpNZlV359216Ce2YtnBfHe1acSH%7EQU9UcIGP2QHWl73zbSQ2uv6DZrM2RrNRkT5ueAbwVOUAurZQ__&Key-Pair-Id=K6UGZS9ZTDSZM 3141b14e3253ac06e299e4d6f617bba1 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 965 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 &amp; 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 &amp; Walker, McKim, Mead, &amp; 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 Custis Tenement, View From Street Subject The topic of the resource Custis Tenement (Williamsburg, Va.) Block 13. Building 26A. Architecture, Domestic - Virginia - Williamsburg Architecture, Colonial - Virginia - Williamsburg Historic buildings - Virginia - Williamsburg Description An account of the resource Exterior of the Custis Tenement, viewed from the east on Duke of Gloucester Street, 1935. Custis Tenement served as an eighteenth-century rental property. Lot owner John Custis IV leased the house to various Williamsburg residents. 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 LC361P1 Rights Holder A person or organization owning or managing rights over the resource. Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation Chimneys Colonial Architecture Cornices Custis Tenement Dentils Domestic Architecture Dormer Windows Dormers Duke of Gloucester Street Exteriors F.S. Lincoln Fences Historic Buildings Hitching Posts Railings Shutters Stairs Transoms Virginia Weatherboarding Williamsburg https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/15750a88e4b734f861cc1e8162f55495.jpg?Expires=1779926400&Signature=vakWQAojVzHUs2Q8TO9RRNfdaU3K2VXPhoM66dFdvhUIukY0jTafTlcVoUtXCj%7E6c2nBWv4wpLEmMmGCOt5HnawRUDh37uN9Ev0vcKSHK6N8OuNcRRRWPZCfopWI6MU2%7E3%7EmyD5qOVv4aHN%7ExiNQF8MFGcOGTrAtCILdaJEihMc3k6JqzzzhWkIje4qZAdBMzDbWL5p-hqC2sAmWSudHwmfsDbWhqOruuMeRq1FzMI7LGPHEOjcoViGgEh37ZgFB1HgIRHP2pacqhsP4ndo2CEeuDP3SxmypUe%7EzfXDwv2FhN27Ns8K56yuCSDKjPjv9pISwVlejMax7Cn3gRZnz9g__&Key-Pair-Id=K6UGZS9ZTDSZM 77a7b048877c17c823a62369d665aa1f Omeka Image File The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files. Bit Depth 8 Channels 3 Height 768 Width 969 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource F.S. Lincoln Photography Collection Description An account of the resource The FS Lincoln Collection Biographical Sketch Mr. Fay S. Lincoln (known professionally as F.S. Lincoln) operated a photography studio in New York City from the 1930s until the mid 1960s. He was born in Keene, New Hampshire in 1894 and attended the Massachusetts Institute of Technology. Although he received training as an engineer, Mr. Lincoln chose to become a professional photographer in 1929, when he opened the firm of Nyholm &amp; 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 &amp; Walker, McKim, Mead, &amp; 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 Davidson Shop (R.W. Mahone and Company Store) Subject The topic of the resource Davidson Shop (Williamsburg, Va.) Stores, Retail - Virginia - Williamsburg Block 18. Building 01D. Historic buildings - Virginia - Williamsburg Description An account of the resource View of front elevation of Davidson Shop when it housed R.W. Mahone & Co. General Merchandise, 1935. Located on the north side of Duke of Gloucester Street, the building was reconstructed according to archaeological, architectural, and documentary evidence. In the eighteenth century, it served as a combination residence and apothecary shop for Robert Davidson. Initial use of the restored building as a grocery and hardware store provided residents with a retail space while adding to the colonial ambiance for town residents and tourists. When Colonial Williamsburg first opened as a museum in the 1930s, Duke of Gloucester Street consisted of a combination of exhibition buildings and commercial establishments. Several grocers operated small food markets in restored or reconstructed structures. 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 LC364P4 Rights Holder A person or organization owning or managing rights over the resource. Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation Chimneys Davidson Shop Dormer Windows Dormers Duke of Gloucester Street Exteriors F.S. Lincoln Fences Groceries Historic Buildings Hitching Posts R.W. Mahone and Company General Merchandise Retail Stores Shops Signboards Signs Stairs Stores Transoms Virginia Weatherboarding Williamsburg https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/1cf2fd72bc129959f219892a24312d9c.jpg?Expires=1779926400&Signature=hEeUrWrdrqkOavI0WtMjimwBfaaLImLV6O7srJFyugZ4Z1BwgnBTNXXfm4lMPegcHhgL6Le5OrL4tXKiAijRAdH%7EVX9nzBPxp-SJAAMFss1uLYrMcKfMUefMy%7ELlxyuINnG3h0OZID%7E0t6JQ7j7IqqikHj7%7E832czhk4g5%7EfJNfaU1jJRnd3KT8VxzFeGjNoSumFI5IbDVcn5aZGBDorIT3gBw%7ES%7Ea8bKe8ssxIXMkauYJmySU8xF%7EnUKqhG1VgKG%7E3WE%7EDv0A0jSZ-WFmOK1ONZLugKlE%7Et2wPQ6K643xSddtwRqwEX3LMWHt9p9WuSkk1Kw0SKyGEcRo7a62yZnQ__&Key-Pair-Id=K6UGZS9ZTDSZM 84b6cb9500544eecc1201e54272edd25 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 Arthur Shurcliff Bird's-Eye View Pencil Sketches Subject The topic of the resource Shurcliff, Arthur A. (Arthur Asahel), 1870-1957 Landscape architecture - Virginia - Williamsburg Williamsburg (Va.) - Buildings, structures, etc. Landscape drawings Extent The size or duration of the resource. 138 drawings Description An account of the resource Arthur A. Shurcliff [ne Shurtleff] (1870 – 1957) was the Colonial Williamsburg Foundation’s first landscape architect. A student of Frederick Law Olmsted, Sr., considered the father of landscape architecture in America, Shurcliff’s Williamsburg gardens are recognized as consummate examples of the Colonial Revival style. 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. 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. 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 Pencil on paper Physical Dimensions The actual physical size of the original image. 14 1/16in x 12in 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/. Description An account of the resource Study showing mounting blocks, hitching posts and lighting along Duke of Gloucester Street from center of thoroughfare, Williamsburg, Virginia. Identifier An unambiguous reference to the resource within a given context AV2021.05-118-001 Title A name given to the resource Duke of Gloucester Street Subject The topic of the resource Streets - Virginia - Williamsburg Street lights - Virginia - Williamsburg Creator An entity primarily responsible for making the resource Shurcliff, Arthur Date A point or period of time associated with an event in the lifecycle of the resource 1931 Is Part Of A related resource in which the described resource is physically or logically included. Arthur Shurcliff Bird's-Eye Pencil Sketches of Williamsburg, AV2021.5, #118, Folder 4 Format The file format, physical medium, or dimensions of the resource jpeg Extent The size or duration of the resource. 1 drawing 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. Arthur Shurcliff Automobiles Benches Duke of Gloucester Street Hitching Posts Street Lights Virginia Williamsburg https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/547144d5578e048ba611cef2e99ecfba.jpg?Expires=1779926400&Signature=Ys9JtCrH-eLmvPD%7ESW0-83aOnis-CuWodU2fsywwl6MqKakFBPvj-76fqX-5uKqQFxPJas5x8Bxvj%7Ec2pq8sVEc9WLw%7E%7EOntsYZPpr5jZ4LTv6AAa4pzoY84oKSEdpwVC3eO-h%7EO0-BxlUIR9yb4KG1MN2Z7qOliZiWn1Asl67wkE3Tsdo20whbJoQYIQZjI7RegOYyZcwYf6%7EyETtdUKClabE7ktzoKC3KXwgy8EKsam4ybxhr6knbBcz5B0Vu3TBSY4bmqysa4hhaBKldzxqvWHSq3qx9LK7YJJOt1Rr3yOs-JMYzhANsIO60RxEjabBkdT-t4LiReebM60-hg8g__&Key-Pair-Id=K6UGZS9ZTDSZM de1c00749f950a8ff6f57f318624532d 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 Arthur Shurcliff Bird's-Eye View Pencil Sketches Subject The topic of the resource Shurcliff, Arthur A. (Arthur Asahel), 1870-1957 Landscape architecture - Virginia - Williamsburg Williamsburg (Va.) - Buildings, structures, etc. Landscape drawings Extent The size or duration of the resource. 138 drawings Description An account of the resource Arthur A. Shurcliff [ne Shurtleff] (1870 – 1957) was the Colonial Williamsburg Foundation’s first landscape architect. A student of Frederick Law Olmsted, Sr., considered the father of landscape architecture in America, Shurcliff’s Williamsburg gardens are recognized as consummate examples of the Colonial Revival style. 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. 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. 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 Pencil on paper Physical Dimensions The actual physical size of the original image. 14in x 12in 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/. Description An account of the resource Study showing mounting blocks, hitching posts and lighting along the edge of Duke of Gloucester Street from pedestrian sidewalk, Williamsburg, Virginia. Identifier An unambiguous reference to the resource within a given context AV2021.05-119-001 Title A name given to the resource Duke of Gloucester Street Subject The topic of the resource Streets - Virginia - Williamsburg Street lights - Virginia - Williamsburg Horses - Virginia - Williamsburg Creator An entity primarily responsible for making the resource Campbell, W.M. Date A point or period of time associated with an event in the lifecycle of the resource 1931 Is Part Of A related resource in which the described resource is physically or logically included. Arthur Shurcliff Bird's-Eye Pencil Sketches of Williamsburg, AV2021.5, #119, Folder 4 Format The file format, physical medium, or dimensions of the resource jpeg Extent The size or duration of the resource. 1 drawing 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. Arthur Shurcliff Duke of Gloucester Street Hitching Posts Horses Street Lights Virginia Williamsburg https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/6afdb3d6e5542f65fd7249dffb761460.jpg?Expires=1779926400&Signature=F8qmzmVR67V9tYDnwYte0Qde8aBrtrp2D0WJkhv9Sfi1ZYZidXZnBmCg7c9lLm-HSuzSoGXF1kF9-NaDFwiIBNwYjqLOUdRpb7PpLY0tzwP4-e9ZOQzcFFhP28Dj-rppuRoIQPGTWPkGWg7D8mVOS9J4jgWT6sZ%7EuAKInNmwjos7-xVHGCeRLV0IocjZt6I-rqppvLZ6lNnjiZ2k74-2mjbGmVMPwGQnw-Ntq%7EqBeQzja867jvHozaqZOyCcK0gz3iem1orK8gi5r5V46PbRVhdFnGoprAVe3R0GAyr7j365ttX-FgkFxan%7E8ExjYwdpMiWYeLhirKe5g17%7EVkCLnw__&Key-Pair-Id=K6UGZS9ZTDSZM 70cf8a468f66fa3be57493d545ede018 Omeka Image File The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files. Bit Depth 8 Channels 3 Height 768 Width 968 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource F.S. Lincoln Photography Collection Description An account of the resource The FS Lincoln Collection Biographical Sketch Mr. Fay S. Lincoln (known professionally as F.S. Lincoln) operated a photography studio in New York City from the 1930s until the mid 1960s. He was born in Keene, New Hampshire in 1894 and attended the Massachusetts Institute of Technology. Although he received training as an engineer, Mr. Lincoln chose to become a professional photographer in 1929, when he opened the firm of Nyholm &amp; 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 &amp; Walker, McKim, Mead, &amp; 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 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 Exterior of Governor's Palace, view from the northeast, 1935. This image of the Governor's Palace, shown as it was first reconstructed, includes features and details that changed with later research and investigation. Wrought-iron gates and the over-door balcony are now painted white, and louvered exterior doors have been removed as efforts towards authenticity are refined. 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 LC327P41 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 Balconies Brick Walls Brickwork Chimneys Cupolas Dormer Windows Dormers F.S. Lincoln Gates Governor's Palace Historic Buildings Hitching Posts Palace Street Public Buildings Virginia Weather Vanes Williamsburg https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/f220a24001e5e676e03b8da51356d708.jpg?Expires=1779926400&Signature=ZLVnA8DXFabAtmzVD5ppniaVkRS09Z3VNb8vwAmQ9OJDnQ4IDBpG1vSl3UP6G3vdwDcIZFfnkCEyqrdX5mOFpG-0R26PlmdI9OMP3Ud0OZaVW5fomlHswgLtJeFDBw6WkzKqxWzzGz9YcKOBJGo924PAFp1qPoKWcLiHO--mzFVqFE6VhLCkSv-nOtuyK-3YTUgH2O8fHqVwEXz8%7E9IlIJP0KMDNZKoNm4K5NIRWhSO8qpxSgWBVDLhIYYf6Z-FMJfvQDbPm-Q02f8aLSc3YbHLfkSrl5uDrFLxydV44bdSJ8mcpzlvr5UkHApXEjbaZp1nlP87snuc-EaWbE2i51A__&Key-Pair-Id=K6UGZS9ZTDSZM 29e0f28c4ec0fa781158f74dbc99d0af 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 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 a photo of the northeast elevation of the Governor's Palace taken by F.S. Lincoln in 1935. It is the thirty-ninth slide in a set produced by the Pacific Stereopticon Co. of Los Angeles, California, now defunct, to illustrate the story of Dr. W.A.R. Goodwin's dream to restore a portion of Williamsburg, Virginia to its 18th-century appearance as a shrine to early American ideals. This image of the Governor's Palace, shown as it was first reconstructed, includes features and details that changed with later research and investigation. Wrought-iron gates and the over-door balcony are now painted white, and louvered exterior doors have been removed as efforts towards authenticity are refined. Creator An entity primarily responsible for making the resource Lincoln, F.S. Publisher An entity responsible for making the resource available Pacific Stereopticon Co. Date A point or period of time associated with an event in the lifecycle of the resource 1935 Identifier An unambiguous reference to the resource within a given context PSC-039 Rights Holder A person or organization owning or managing rights over the resource. Special Collections, John D. Rockefeller Jr. Library, The Colonial Williamsburg Foundation Is Part Of A related resource in which the described resource is physically or logically included. Pacific Stereopticon Company Lantern Slide Collection Format The file format, physical medium, or dimensions of the resource jpeg Type The nature or genre of the resource Image Advance Buildings Balconies Brick Walls Brickwork Chimneys Cupolas Dormer Windows F.S. Lincoln Gates Governor's Palace Hitching Posts Lantern Slides Pacific Stereopticon Company Palace Street Public Buildings Virginia Weathervanes Williamsburg https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/839810a3a448fda66c1dc84cb0145b02.jpg?Expires=1779926400&Signature=Gejza340f43fYZJzc9x-DAqt%7E8cAMH2atAoWrXj%7EKn2ZxeR8iT629vGJ616LIvtqmgp9-nxyhi8hyHgpqJLPOZtByRXl2kHBakAmqwTa6XqMmEovwOs6NrFvc8ofmRLTXxf5E8trClyZnhgK7MxO5rZkokZuH%7EVwM0-TFA9QSH6HeOExfikuStDq3S06AI39RmruJOPfKSXTrXCTQzGhTpvNNzQtvUIsNjdmXD5BM1bcy0nHkJFabmcGLKCZEvB-vQZyAexw9qvQAYXIAy85TY%7EhPUmXEVxPb6E9K5363RFguKuTtFMJfFa3Uqkx8o2SMFR6uZOVXtzk5j6FVH3o8Q__&Key-Pair-Id=K6UGZS9ZTDSZM 5e2b4d58763883f1c1b6490ea94644ac 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 Garrison Photography Collection Subject The topic of the resource Garrison, Richard Historic buildings - Virginia - Williamsburg Architectural photographs - 1930-1940 Williamsburg (Va.)--History Description An account of the resource BIOGRAPHICAL SKETCH Richard Garrison was a New York photographer with a studio at 52 Vanderbilt Avenue in New York City. His architectural photographs appeared regularly in such magazines as "House Beautiful," "American Art and Architecture," "Architectural Record," and "House & Garden." According to a recommendation written by Mr. Frederic C. Hirons, Garrison “…was trained as an architect and …knows the vital points in taking architectural photographs…” After F.S. Lincoln’s photography contract expired in 1937, Colonial Williamsburg hired Richard Garrison in his place. A contract signed by Garrison in June 1937 indicates that Garrison was contracted to be available when requested to photograph exterior and interior views of buildings between June 15, 1937 and June 14, 1938. Colonial Williamsburg renewed this agreement with Garrison in 1938 and 1939. Colonial Williamsburg staff members asked Garrison to create a master collection of official photos of Colonial Williamsburg buildings and gardens. He was given several lists of suggested views to take of the exterior and interior of the Governor’s Palace, the Capitol, the Raleigh Tavern, the Public Gaol, the Wren Building, Market Square Tavern, and the Travis House. The lists also instructed him to photograph various gardens and street scenes in the historic area, as well as shops in the business block and exterior views of the Williamsburg Inn. Some of Garrison’s photos formed part of the Virginia exhibit at the New York World’s Fair in 1939. Richard Garrison joined the Navy in 1942 and closed his office for the duration of World War II. During this period, his negative files were made available to Colonial Williamsburg at the offices of Underwood & Underwood in New York City. Garrison received his discharge from the Navy in 1946 and contacted Colonial Williamsburg about the possibility of additional contract work. The photographer presented Kenneth Chorley, President of Colonial Williamsburg, with a proposal to photograph the interiors of private homes within the historic area. Mr. Chorley vetoed the proposal because he felt the private interiors were not accurately restored and would confuse the public as to the objectives of the restoration work. Other Colonial Williamsburg staff members were more enthusiastic about the proposal, but it was never approved. Therefore, Garrison did not perform any more contract photography for Colonial Williamsburg after World War II. Scope and Contents The Richard Garrison Photo Collection consists of one portfolio of black and white and hand-colored photos ranging in size from 8x10 to 11x14. These are the only known Garrison photos in the Foundation’s photo archives. The whereabouts of the other negatives and prints created by Garrison while under contract to Colonial Williamsburg are unknown. Although it is unfortunate that only a small portion of Garrison’s photographic work for Colonial Williamsburg has been preserved, this small portfolio provides a sample of the types of photographs he created. The subject matter includes interior views of the Governor’s Palace, George Wythe House, Market Square Tavern, and the Raleigh Tavern; exterior views of the Capitol, Raleigh Tavern, Public Gaol, Courthouse, Ludwell-Paradise House, Ayscough Shop, Palmer House, Travis House, Pitt Dixon House, Coke-Garrett House, and the Williamsburg Inn; and various unidentified garden scenes. Some of the photos are mounted on board and signed by the photographer. They date from the period of 1937-1939, when Garrison worked on a contract basis for Colonial Williamsburg. Garrison's photographs of Colonial Williamsburg appeared in an exhibit at the Pedac Galleries at Rockefeller Center and also in the publication "Williamsburg, Virginia: A Brief Study in Photographs" published in 1939 by Colonial Williamsburg, Inc. Creator An entity primarily responsible for making the resource Garrison, Richard 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. 11 x 14 inches Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Governor's Palace Subject The topic of the resource Garrison, Richard Governor's Palace (Williamsburg, Va.) Block 20. Building 03. Public buildings - Virginia - Williamsburg Historic buildings - Virginia - Williamsburg Description An account of the resource Exterior of Governor's Palace viewed from Palace Street, ca. 1930s Creator An entity primarily responsible for making the resource Garrison, Richard Date A point or period of time associated with an event in the lifecycle of the resource Circa 1930s Date Created Date of creation of the resource. Circa 1930s Is Part Of A related resource in which the described resource is physically or logically included. Richard Garrison Photograph Collection, AV-1998.14, Box 2, Folder 14 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 Garr-046 Rights Holder A person or organization owning or managing rights over the resource. Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation Balustrades Beltcourses Brick Walls Chimneys Cornices Cupolas Dentils Dormers Gates Governor's Palace Hitching Posts Lions Outbuildings Palace Green Palace Street Richard Garrison Unicorns Virginia Williamsburg https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/58b3c1cd310a272356e13471a8171a3e.jpg?Expires=1779926400&Signature=tIIv5Q3ccG4SFyrVbQPdI%7E8wVmMR2VrFvaE1pAOgyykLv1n%7E9PyVINOR7%7EhMmYInXhuwFlxjQmY3aiI7nzEM0%7EXFfAWMuzWy0cuL4NcApBzQq8JCCYhUYBGcllLLK6vpRq0vGgckmVrluTZfDYAoAXWMjHm68%7E5ic26SzjOWq-N41Q2Z-IpaMVnzwtx7eK6ctXnhZPTpYc8V0egS3JV3Fddb-W5XMdQOA-Fh8ZDFjvguJls18oCHkk8%7Eq9KpYJmCXahCSuGiBbztc6S1Pds0Mp-uq3vi8jVHrzcXqo0emd5LfatFacsXjPYrYZyHUkhyVu2h1ZyaAQVCJls-W0Ekvg__&Key-Pair-Id=K6UGZS9ZTDSZM 40966ca3b1b55d546754069a544ec589 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 Garrison Photography Collection Subject The topic of the resource Garrison, Richard Historic buildings - Virginia - Williamsburg Architectural photographs - 1930-1940 Williamsburg (Va.)--History Description An account of the resource BIOGRAPHICAL SKETCH Richard Garrison was a New York photographer with a studio at 52 Vanderbilt Avenue in New York City. His architectural photographs appeared regularly in such magazines as "House Beautiful," "American Art and Architecture," "Architectural Record," and "House & Garden." According to a recommendation written by Mr. Frederic C. Hirons, Garrison “…was trained as an architect and …knows the vital points in taking architectural photographs…” After F.S. Lincoln’s photography contract expired in 1937, Colonial Williamsburg hired Richard Garrison in his place. A contract signed by Garrison in June 1937 indicates that Garrison was contracted to be available when requested to photograph exterior and interior views of buildings between June 15, 1937 and June 14, 1938. Colonial Williamsburg renewed this agreement with Garrison in 1938 and 1939. Colonial Williamsburg staff members asked Garrison to create a master collection of official photos of Colonial Williamsburg buildings and gardens. He was given several lists of suggested views to take of the exterior and interior of the Governor’s Palace, the Capitol, the Raleigh Tavern, the Public Gaol, the Wren Building, Market Square Tavern, and the Travis House. The lists also instructed him to photograph various gardens and street scenes in the historic area, as well as shops in the business block and exterior views of the Williamsburg Inn. Some of Garrison’s photos formed part of the Virginia exhibit at the New York World’s Fair in 1939. Richard Garrison joined the Navy in 1942 and closed his office for the duration of World War II. During this period, his negative files were made available to Colonial Williamsburg at the offices of Underwood & Underwood in New York City. Garrison received his discharge from the Navy in 1946 and contacted Colonial Williamsburg about the possibility of additional contract work. The photographer presented Kenneth Chorley, President of Colonial Williamsburg, with a proposal to photograph the interiors of private homes within the historic area. Mr. Chorley vetoed the proposal because he felt the private interiors were not accurately restored and would confuse the public as to the objectives of the restoration work. Other Colonial Williamsburg staff members were more enthusiastic about the proposal, but it was never approved. Therefore, Garrison did not perform any more contract photography for Colonial Williamsburg after World War II. Scope and Contents The Richard Garrison Photo Collection consists of one portfolio of black and white and hand-colored photos ranging in size from 8x10 to 11x14. These are the only known Garrison photos in the Foundation’s photo archives. The whereabouts of the other negatives and prints created by Garrison while under contract to Colonial Williamsburg are unknown. Although it is unfortunate that only a small portion of Garrison’s photographic work for Colonial Williamsburg has been preserved, this small portfolio provides a sample of the types of photographs he created. The subject matter includes interior views of the Governor’s Palace, George Wythe House, Market Square Tavern, and the Raleigh Tavern; exterior views of the Capitol, Raleigh Tavern, Public Gaol, Courthouse, Ludwell-Paradise House, Ayscough Shop, Palmer House, Travis House, Pitt Dixon House, Coke-Garrett House, and the Williamsburg Inn; and various unidentified garden scenes. Some of the photos are mounted on board and signed by the photographer. They date from the period of 1937-1939, when Garrison worked on a contract basis for Colonial Williamsburg. Garrison's photographs of Colonial Williamsburg appeared in an exhibit at the Pedac Galleries at Rockefeller Center and also in the publication "Williamsburg, Virginia: A Brief Study in Photographs" published in 1939 by Colonial Williamsburg, Inc. Creator An entity primarily responsible for making the resource Garrison, Richard 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. 8 x 10 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 Subject The topic of the resource Garrison, Richard Governor's Palace (Williamsburg, Va.) Block 20. Building 03A. Public buildings - Virginia - Williamsburg Description An account of the resource Hand-colored photograph of the Governor's Palace viewed from Palace Street, Williamsburg, Virginia, circa 1930's Creator An entity primarily responsible for making the resource Garrison, Richard Date A point or period of time associated with an event in the lifecycle of the resource Circa 1930's Date Created Date of creation of the resource. Circa 1930's Is Part Of A related resource in which the described resource is physically or logically included. Richard Garrison Photography Collections, AV-1998.14, Box 3, Folder 2 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 Garr-016A (Hand-colored) Garr-016B (B&W) 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 Balconies Brick Walls Brickwork Chimneys Cupolas Dormers Gates Governor's Palace Hitching Posts Lions Palace Green Public Buildings Richard Garrison Transoms Unicorns Virginia Williamsburg https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/3b1a81d58d218ea696945f74fd020c48.jpg?Expires=1779926400&Signature=c9d-FDhpBNy3OU20WIHBxL93XFwe5qexJEQB2P-LnuyRoNSt2no4feR4mZXhOpFOO2XP7Y7qvpYS20onRJQhXarXpVfa8hPq7AGKt-S4%7E%7EnYlMZNurX-zkXlySgFQVx7vWjVVnh%7EcjmXVzMzC-oU2XJJUk63DX5vBryH598oVTVRU1FOonMEzowDENqkLx%7EwedUnEbe2TCXj8GRaVKR2s60gRLWfSrHgX2Akk7caEnVF7owWxVACanOGnTSzWdFp5L6SztR1jitOnAS8g8AFq9N-3Zo8ULejkYHJjpM%7E2NOuevVlVo0UF06R4auZ137Qmf3LqAchpL7RAEacBRCfdA__&Key-Pair-Id=K6UGZS9ZTDSZM 1011b5c54e30606d06c053fca5645f77 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 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 &amp; 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 https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/602bcdd269f9cf84dc53314a2bd4c0e9.jpg?Expires=1779926400&Signature=EXl0i1qeg09O%7EHo6oY0jtQQcBoX7If3fZ3gk%7EjiRc9gdtJRSUYz94JGwZMnB3qn78dDQoYwaurCln0l1zTkYPL2uBShF%7ExCTMlJ2JRtsLhlA-5ddR6XtY%7EI-LyuRLQcqOBXQtnlke-hSj2A57piJ3Wy2GaTvvLcKjvVShPm73MmZ8K6wnkm4PMzMrFnJNakf4It8x6yXLeZ0owYSmnSFYq4C79NxQnyOwVDu2bmxzZvpI9efJ3aRBg1hBmRNl7mTuud-8H8YDDMaP1%7EcYLYqmFiSNogayVswjgEGLShKDj50vI4xm9XsZb1-MPDvBKgSpNhnk9sVe0aLXLTcHx7DAQ__&Key-Pair-Id=K6UGZS9ZTDSZM e7beffd86df2eb36ee977b04b2d46bfe 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 682 Width 1024 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource An Architect of the Restoration: The Pencil Sketches of Thomas Mott Shaw, F.A.I.A. Description An account of the resource BIOGRAPHY OF THOMAS MOTT SHAW, F.A.I.A. Thomas Mott Shaw is best known as one of the founding partners and principal architects of the prominent Boston architectural firm Perry, Shaw, and Hepburn, which John D. Rockefeller Jr. hired in 1928 to design, plan, and supervise the groundbreaking historical restoration of Williamsburg, the former eighteenth-century capitol of Virginia. Born in 1878 in Newport, Rhode Island, Thomas Mott Shaw received a bachelor’s degree from Harvard in 1900 and continued his education at the atelier (workshop) of Jean-Louis Pascal at the Ècole des Beaux-Arts in Paris from 1900 to 1905.[1] After graduation in 1905, he began working in Boston as a draftsman in the office of Guy Lowell, a prominent American architect and landscape architect who designed the Boston Museum of Fine Arts, as well as numerous other public, commercial, academic, and private buildings and spaces, including many distinguished estates and gardens.[2] Shaw’s connections to Lowell were presumably academic in nature, as Lowell was a former Harvard alumnus who also studied under Pascal at the Ècole, where he graduated just one year before Shaw.[3] In 1908, Shaw left Lowell’s employ and opened his own architectural practice, which he pursued until 1916.[4] During the First World War, he served as a first lieutenant in the 489th Aero Squadron of the American Expeditionary Forces (AEF).[5] He was stationed at the U.S. Army’s Air Service Production center at Romorantin, France, where he worked with the Air Service Construction Division #2. During this time, he helped design and build air fields, assembly plants for the fabrication of American aircraft, and barracks for military personnel.[6] After the war, Shaw returned to the United States and partnered with Andrew H. Hepburn, an MIT graduate and practicing architect who had also worked under Guy Lowell.[7] The two men founded an architectural firm under the name of Shaw and Hepburn, which they managed together from 1918 to 1923.[8] When architect William G. Perry (another alumnus of Harvard, MIT, and the Ècole, as well as a former WWI Army Air Corps captain[9]) joined the partnership in 1923, the firm’s name changed to Perry, Shaw, and Hepburn.[10] In January 1927, William Perry (representing his partners Shaw and Hepburn) was invited by Reverend William A. R. Goodwin (the rector of Bruton Parish Church in Williamsburg) to produce drawings of Williamsburg as it may have looked in the eighteenth century.[11] Goodwin planned to submit the renderings to an unnamed donor who was interested in restoring the town to its former eighteenth-century appearance.[12] Shaw noted: “I worked on those drawings. We all did. We all worked on them (just like a projet in the Ècole des Beaux-Arts) to get them out.” [13] In late November 1927, after spending eleven months working pro bono[14] on a series of illustrations detailing the prospective restoration of the town and the College of William and Mary’s Wren Building, Perry submitted the firm’s drawings to Reverend Goodwin to deliver to his anonymous benefactor for consideration.[15] Soon after reviewing the architects’ work, Goodwin’s patron decided to begin funding the restoration of Williamsburg, and by early December 1927, the firm of Perry, Shaw, and Hepburn was approved “'to proceed with work on [the] Wren Building’ and reconstruction of the colonial Capitol and Governor’s Palace.”[16] It was not until April 1928, however, that the architects finally learned the identity of the secretive individual funding the endeavor.[17] The three men were summoned to New York for a meeting, where Goodwin introduced them to the wealthy businessman and philanthropist, John D. Rockefeller Jr.[18] After meeting the architects in person and discussing the project with them over lunch, Rockefeller decided that he liked what he had seen and heard. On 1 April 1928,[19] he “assigned overall ‘authority and responsibility’” of Williamsburg’s building and restoration to Perry, Shaw, and Hepburn.[20] Soon thereafter, the architects set up a small office in Williamsburg near Bruton Parish Church to manage the project.[21] The architects “soon found that drawing plans was only a minor part of the [project]. The hard part was finding out what kind of plans should be drawn.”[22] Consequently, they organized a staff of historical researchers to assist them in their efforts to restore and rebuild Williamsburg’s eighteenth-century structures as authentically as possible. “Very early in the project, [the architects] decided to establish the highest possible standards for the job. ‘Nothing was ever done without a good reason,’ Shaw once stated. ‘If there were no documented reasons for doing a particular thing, we didn’t do it.’”[23] Perry, Shaw, and Hepburn’s dedication to the ideals of historic preservation at Williamsburg also paralleled a larger “preservation fever” that was sweeping the nation in the 1920s, called the Colonial Revival.[24] “Historic preservation formed the core of the Colonial Revival, a social and stylistic mindset that peaked during the 1920s [25]…fueled by the usual turmoil – a world war, the Bolshevik Revolution, the Red Scare, and another spike in immigration, all of which increased the nostalgia for the good old colonial days.[26] ….Creating museums from historic buildings became a preferred philanthropy for the wealthy…and John D. Rockefeller Jr. launched the single largest preservation project the country had seen: Colonial Williamsburg.” [27] In the wake of the stock market crash of 1929 and the subsequent national economic collapse of the Great Depression, the fervor of the movement waned, as “only the wealthiest could afford to indulge in antiques, art, and architectural restoration.”[28] As one of the wealthiest men in the country, however, John D. Rockefeller Jr. was one of the few people who could indeed afford to finance his interests in the Colonial Revival. Despite the economic strife of the times, Rockefeller’s infusion of funds into Williamsburg not only helped support the research and restoration of this sleepy southern town back to its former eighteenth-century appearance as the colonial capitol of Virginia, but also provided Williamsburg with much-needed jobs during the worst years of the Depression. By the late 1930s, Rockefeller’s restoration had positioned the town as an architectural and cultural cornerstone of the Colonial Revival movement, fueled Colonial Revival sentiments in spite of the nation’s social and economic woes, and established Williamsburg as a pioneering example of historical preservation relating to the nation’s colonial and revolutionary past. In time, Thomas Mott Shaw was eventually “placed on [a] consulting basis” with Williamsburg’s Restoration “when an architectural department was established by Colonial Williamsburg” on 1 October 1934.[29] In 1938, Shaw was recognized by the American Institute of Architects for his work on the Williamsburg Inn, “chosen for its excellency of design wedded to the sensitive appreciation of location.”[30] He was awarded the Institute’s Bronze Medal of Honor, the highest award given to a practicing architect in the country.[31] In 1939, Shaw was placed on an annual retainer with the Restoration, though he continued working as a consultant for Colonial Williamsburg on various design and restoration projects. After a long and accomplished career, Thomas Mott Shaw died on 17 February 1965.[32] THE THOMAS MOTT SHAW COLLECTION This collection consists of thirty-four graphite and mixed media sketches drawn by architect Thomas Mott Shaw during the restoration of Colonial Williamsburg from the late 1920s through 1930s, depicting various architectural exteriors and interiors of historic buildings in and around Colonial Williamsburg’s Historic Area. It is not known precisely why these drawings were created – whether for in-house or external purposes by Perry, Shaw, and Hepburn, for Colonial Williamsburg’s staff or other interested parties, or perhaps even for Shaw’s own personal use – but they have since become historically important artifacts and images of Williamsburg’s Restoration period. These illustrations take us back in time to the early days of Williamsburg as a reconstructed historic site and living history museum, capturing views that offer interesting opportunities for insight and reflection into the early research, planning, design, building, and restoration of the town’s landscape, architecture, and character as Virginia’s eighteenth-century colonial capitol. The earliest sketch in this collection, drawn in 1928, features the Bracken Tenement (also known as the Bracken House) on Francis Street, which was one of the first buildings to be restored in Williamsburg by Perry, Shaw, and Hepburn[33] in 1928.[34] The latest sketch, drawn in 1938, depicts a proposed addition to the Williamsburg Inn which was never built. Otherwise, the majority of the drawings – thirty-two in number – were completed in 1933. In the fall of 1944, Shaw offered this collection of thirty-four sketches to the Colonial Williamsburg Foundation “for use in connection with publicity or any other purpose you would like to use them for.”[35] Upon review of the sketches, Colonial Williamsburg’s staff accepted them, stating: “These sketches are something which we definitely should have in our archives….Mr. Shaw has done them from photographs and that in this respect they are not such creative work as might be done on location without the use of photographs….We have not undertaken to determine how best they can be utilized but there are several possibilities which we should like to explore further.”[36] Though the sketches were thought to be “very good” and might be used in various ways,[37] Colonial Williamsburg’s staff chiefly appreciated the drawings for their “sentimental appeal by virtue of Mr. Shaw’s connection with Colonial Williamsburg”[38] and “the fact that they are the handiwork of Mr. Shaw, which…will make them quite valuable to Colonial Williamsburg in the future.”[39] Shaw’s sketches were purchased and accepted into the research archives of Colonial Williamsburg’s Architectural Department between November 1945 and January 1946. These drawings are now part of the Architectural Drawings Collection in the Special Collections wing of the Colonial Williamsburg Foundation’s John D. Rockefeller Jr. Library. While a separate collection of Shaw’s personal papers and drawings also reside within the Smithsonian Institution’s Archives of American Art in Washington, D.C.,[40] the Colonial Williamsburg Foundation is proud to possess the majority of Mr. Shaw’s drawings and correspondence associated with his meticulous and pioneering work on Williamsburg’s restoration. ENDNOTES [1] George H. Yetter, “Thomas Mott Shaw, F.A.I.A., 1878-1965” unpublished biography, Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation (Williamsburg, Va.: The Colonial Williamsburg Foundation). [2] Ibid. [3] Henry F. Withey and Elsie Rathburn Withey, Biographical Dictionary of American Architects [Deceased] (Los Angeles: Hennessey &amp; Ingalls, Inc., 1970), 381-382. [4] Yetter, “Thomas Mott Shaw, F.A.I.A., 1878-1965.” [5] George H. Yetter, handwritten notes compiled from Thomas Mott Shaw Papers (in Archives of American Art, Smithsonian Institution, gift of Sarah Quinan Shaw Johnson, Concord, Ma., 1975), Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation (Williamsburg, Va.: The Colonial Williamsburg Foundation). [6] Ibid.; see also “Colonial Williamsburg Logbook” biographical sheet on Thomas Mott Shaw, dated 15 March 1947, Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation (Williamsburg, Va.: The Colonial Williamsburg Foundation). [7] George H. Yetter, “Designers of Beauty: Academic Training and Williamsburg’s Architectural Restoration,” Colonial Williamsburg Journal (Winter 2012): 58. [8] Yetter, handwritten notes compiled from Thomas Mott Shaw Papers; see also “Colonial Williamsburg Logbook” biographical sheet. [9] Will Molineux, “The Architect of Colonial Williamsburg: William Graves Perry,” Colonial Williamsburg Journal (Autumn 2004), 61. [10] “Colonial Williamsburg Logbook” biographical sheet. [11] Fred Frechette, “Work on Restoration Started as ‘Bit of Fun,’” Richmond Times-Dispatch (Richmond, Va.), 21 May 1956, page number unknown, Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation. [12] Yetter, “Thomas Mott Shaw, F.A.I.A., 1878-1965.” [13] Ibid. (T.M. Shaw quote excerpted from “Reminiscences of Thomas Mott Shaw,” Colonial Williamsburg Foundation Archives, Oral History Collection, 11), Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation (Williamsburg, Va.: The Colonial Williamsburg Foundation). [14] Frechette, “Work on Restoration Started as ‘Bit of Fun.’” [15] George H. Yetter, “Thomas Mott Shaw” typewritten research notes, Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation (Williamsburg, Va.: The Colonial Williamsburg Foundation). [16] Molineux, “The Architect of Colonial Williamsburg,” 63. [17] Ibid. [18] Ibid. [19] Yetter, “Thomas Mott Shaw” typewritten research notes. [20] Molineux, 63; see also Frechette, “Work on Restoration Started as ‘Bit of Fun.’” [21] Molineux, 63. [22] Frechette, “Work on Restoration Started as ‘Bit of Fun.’” [23] Ibid. [24] Mary Miley Theobald, “The Colonial Revival: The Past that Never Dies,” Colonial Williamsburg Journal (Summer 2002), 81. [25] Ibid., 81. [26] Ibid., 84. [27] Ibid., 81. [28] Ibid., 84. [29] Yetter, “Thomas Mott Shaw” typewritten research notes. [30] Frechette, “Work on Restoration Started as ‘Bit of Fun.’” [31] Ibid. [32] Yetter, “Thomas Mott Shaw, F.A.I.A., 1878-1965.” [33] Frechette, “Work on Restoration Started as ‘Bit of Fun.’” [34]Carl Lounsbury, “Bracken Tenement: Block 2, Building 52,” Colonial Williamsburg Foundation website, n.d., http://research.history.org/Architectural_Research/Research_Articles/ThemeBldgs/Bracken.cfm (accessed 5 May 2014). [35] Letter from Thomas Mott Shaw to Vernon Geddy of Williamsburg Restoration, Inc., 25 October 1944, Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation. [36] Staff memo from B.W. Norton to Vernon Geddy of Williamsburg Restoration, Inc., 1 November 1945, Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation. [37] Staff memo from J.A. Upshur to Kenneth Chorley of Williamsburg Restoration, Inc., 12 January 1946, Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation. [38] Ibid. [39] Ibid. [40] Letter from Michael A. Grimes (archivist, Smithsonian Institution, Archives of American Art) to George H. Yetter (Associate Curator of Architectural Drawings, Colonial Williamsburg Foundation), 2 August 1989, Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation. SUGGESTIONS FOR FURTHER READING Chappell, Edward A. “Architects of Colonial Williamsburg” in Encyclopedia of Southern Culture, ed. by Charles Reagan Wilson, William R. Ferris, and Ann J. Adadie. Chapel Hill: University of North Carolina Press, 1989, 59-61. Greenspan, Anders. Creating Colonial Williamsburg: The Restoration of Virginia’s Eighteenth-Century Capitol. Chapel Hill: The University of North Carolina Press, 2002. Hosmer, Charles Bridgham, and National Trust for Historic Preservation in the United States. Preservation Comes of Age: From Williamsburg to the National Trust, 1926-1949, Vol. 1. Charlottesville: Published for the Preservation Press, National Trust for Historic Preservation in the United States by the University Press of Virginia, 1981. Kimball, Fiske, et al. The Restoration of Colonial Williamsburg in Virginia. New York: F.W. Dodge Corporation, 1935. Molineux, Will. “The Architect of Colonial Williamsburg: William Graves Perry,” Colonial Williamsburg Journal (August 2004): 58-65. Theobald, Mary Miley. “The Colonial Revival: The Past that Never Dies,” Colonial Williamsburg Journal (Summer 2002): 81-85. Yetter, George Humphrey. “Designers of Beauty: Academic Training and Williamsburg’s Architectural Restoration,” Colonial Williamsburg Journal (Winter 2012): 54-60. Yetter, George Humphrey. Williamsburg Before and After: The Rebirth of Virginia's Colonial Capital. Williamsburg, Va.: Colonial Williamsburg Foundation, 1988. Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Graphite on paper Physical Dimensions The actual physical size of the original image. 43.5 x 29 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, View Looking Northeast 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 Governor's Palace, looking to the northeast from the Robert Carter house, 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>The Robert Carter House (out of view, but whose front yard is pictured here) is one of the original eighty-eight buildings at Colonial Williamsburg. It served as the gentry-class townhouse residence of various members of the Carter family throughout the eighteenth century, beginning with Charles Carter, the son of Robert "King" Carter, and ending with Robert Carter III of Nomini Hall. Governor Dinwiddie also briefly resided in the house during the renovations of the Governor's Palace between 1751 and 1752. </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-1014-1022 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 Balconies Brick Walls Brickwork Capitol Chimneys Colonial Architecture Cupolas Dormer Windows Dormers Fences Gates Historic Buildings Hitching Posts Palace Street Public Buildings Robert Carter House Thomas Mott Shaw Virginia Williamsburg https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/203e2778cdf9b8aa70e07575bfecb996.jpg?Expires=1779926400&Signature=Y-MKkxxCWjRYp0f5wgJQvdM3FaqchaZYKZJQty-B6Wf%7EDJd5wlChGl%7EmRika5wPu2kg5kwW4KChno3icHdo4TZ9Mm0b8ruZ4cj1FdSBa9hNVk8%7EoRJJ3h9qU3iM7rc9n7bXWgJ8cvykfrGtlZrCIzjAUJx5wo18RuquZxrrJPDD7rxDXxZsqV6jxul5qNmxBkYHyIgfaDYJdBqSCRLg0CPMVmmcSSTEZ4DS0Cp15%7ELH0kA9667C6BDfjDrcphxMiDIdov12daFLvAj5WlYynI7a2pE3ms1suHA%7EvsQMSZ63al%7EK09%7ETcXsliBJh8LcYLgx4wSw6s%7EPuzXQ6s3Kwfcw__&Key-Pair-Id=K6UGZS9ZTDSZM 17a31e3beb1996b4cfa63040177780a0 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 521 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 &amp; 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 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, West Advance Building 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 class="MsoNormal">Exterior of the western Advance Building of the Governor's Palace, 1933.<span>  </span>Reconstructed between March 1932 and April 1934, the western Advance Building likely served varying functions over time.  According to architectural historian Ed Chappel (the Colonial Williamsburg Foundation's Shirley and Richard Roberts Director of Architectural and Archaeological  Research), the structure probably served originally as a kitchen in the Palace's early years. Based on archaeological evidence found in the western Advance Building's original eighteenth-century foundations, the hearth was found to be of a larger size, which would correspond to the functional needs of a kitchen.  Today, the location of the present-day Palace Kitchen correlates closely with the site of what may have been a later eighteenth-century kitchen outbuilding within the Palace complex.<span> <br /></span></p> <p class="MsoNormal">Historical documentation also suggests, however, that the building may have been repurposed later as a guardhouse.  “In July 1730 the Governor’s House was reported as being ‘very inconvenient for want of a covered way from the offices into the House’ and ‘a Sum not exceeding one Hundred Pounds’ was appropriated ‘for Building a Covered Way from the Offices belonging to the Governor’s House into the said House.”<span>  </span>In 1745, historian Henry Howe apparently referred to the Palace’s Advance Buildings as “’…two small brick structures, the remains of the Palace…that on the right was the office, and the one on the left the guard house.’”<span>    </span></p> <p class="MsoNormal">(Sources: A. Lawrence Kocher and Thomas T. Waterman, “Governor’s Palace Advance Outbuildings: Block 20, Buildings 3B &amp; 3C Architectural Report,” [Williamsburg, Va.: Colonial Williamsburg Foundation, 1952], 6-7; Ed Chappel, in-person communication in Special Collections Dept., John D. Rockefeller, Jr. Library, 11 April 2014, Williamsburg, Va.).</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-1014-1027 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 Brick Walls Brickwork Chimneys Colonial Architecture Dormer Windows Dormers Governor's Palace Historic Buildings Hitching Posts Palace Green Palace Street Public Buildings Thomas Mott Shaw Virginia West Advance Building Williamsburg https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/4c85cc073ce38974b068177c6723cc9d.jpg?Expires=1779926400&Signature=ejD4-82gVMRNy5hzH1yAuYQNZ9YlsDdZd8et-6HZFrVZg%7EskCC5-A1CiGdNcEi3CVzvN57QWLahcKUeSN1qG97bTIep8sAZCJyaUjTlSOLEnsRmLQ-4NwSaoyQcSrtm34iHEIRFdAoOCBaB7kPKylcGnLX-enkbP0hsLOPpR2SRYnFQFgctTk000XuJpTtf7qYaMVli4u6mupn9CYgikvbp6nUu1G3qpe0WJhVfJ15vlO8YkcV4kqN1XglOfR10jtmlXx%7EXMj08ADOewEEsnRbkPbKXJRNVmhNl0T3xo26HPS9mX48idpXfn0HSRMPiAhNDTwbuNSOEiVkACm9jYzQ__&Key-Pair-Id=K6UGZS9ZTDSZM 37f98e92ba2256c9b5ea6327a4cccd61 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 Architectural Photo Albums Collection Description An account of the resource 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. 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. 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. 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. 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. 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). Is Part Of A related resource in which the described resource is physically or logically included. Architectural Photo Albums Collection, AV2013.2 Rights Holder A person or organization owning or managing rights over the resource. Special Collections, John D. Rockefeller Jr. Library, The Colonial Williamsburg Foundation Subject The topic of the resource Williamsburg (Va.) - Photographs Williamsburg (Va.) - Buildings, structures, etc. Photograph albums Architecture, Colonial - Virginia - Williamsburg Historic buildings - Virginia - Williamsburg Public buildings - Virginia - Williamsburg Architecture, Domestic - Virginia - Williamsburg Extent The size or duration of the resource. 367 boxes 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. 8 x 10 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 Homeplace Subject The topic of the resource Block 02. Building 16. Stores, Retail - Virginia - Williamsburg Lost architecture - Virginia - Williamsburg Description An account of the resource View looking across Francis Street towards the north elevation of The Homeplace, an antiques store in Williamsburg, Virginia, prior to its demolition. 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 1966-12 Format The file format, physical medium, or dimensions of the resource jpeg Extent The size or duration of the resource. 1 photograph Type The nature or genre of the resource Image Identifier An unambiguous reference to the resource within a given context 1966-SMT-3037R Rights Holder A person or organization owning or managing rights over the resource. Special Collections, John D. Rockefeller Library, The Colonial Williamsburg Foundation. Is Part Of A related resource in which the described resource is physically or logically included. Architectural Photo Albums Collection, AV2013.2, Box 11, Folder 1 Antique Stores Hitching Posts Homeplace Shop Windows Signs Steve Toth Virginia Williamsburg https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/8566dce297158cfb210ddcf69f28dcb9.jpg?Expires=1779926400&Signature=NSy%7EA80AI-h9o-uNPw%7ENqH2KXNqp6Ib4STPlZwRHEkFGXhR-JnSOp0b7dxnqr94ChCCz9PrjeLVPCUeXO8o3ZvM4vO-sELObI-IYhHdHswfn3Z9qkxBaRTJGdacgZN%7EP5tQbxL9-jJvsz7YZU0nIMAbucnsrRmH5NzWdpP4L9NVhM5UtXCVY0aBNujsp3Pl5g9YvNQKbbx%7ETu36yUD9L%7EZosBKtcWMRPrbBWTNNPNBAMTUYw%7EO2ahQd6fBkPGI6wm0oVSraI2rsePiFXn6kyxIupFVhQv1zLL7mwoMo-b0fGAEOn7dNhzgfsDwl41sQ8gTfGBP8X9j0xcOcR-dGfPw__&Key-Pair-Id=K6UGZS9ZTDSZM 09ae657ea2ac1484aaff64e11f478001 Omeka Image File The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files. Bit Depth 8 Channels 3 Height 693 Width 1024 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource An Architect of the Restoration: The Pencil Sketches of Thomas Mott Shaw, F.A.I.A. Description An account of the resource BIOGRAPHY OF THOMAS MOTT SHAW, F.A.I.A. Thomas Mott Shaw is best known as one of the founding partners and principal architects of the prominent Boston architectural firm Perry, Shaw, and Hepburn, which John D. Rockefeller Jr. hired in 1928 to design, plan, and supervise the groundbreaking historical restoration of Williamsburg, the former eighteenth-century capitol of Virginia. Born in 1878 in Newport, Rhode Island, Thomas Mott Shaw received a bachelor’s degree from Harvard in 1900 and continued his education at the atelier (workshop) of Jean-Louis Pascal at the Ècole des Beaux-Arts in Paris from 1900 to 1905.[1] After graduation in 1905, he began working in Boston as a draftsman in the office of Guy Lowell, a prominent American architect and landscape architect who designed the Boston Museum of Fine Arts, as well as numerous other public, commercial, academic, and private buildings and spaces, including many distinguished estates and gardens.[2] Shaw’s connections to Lowell were presumably academic in nature, as Lowell was a former Harvard alumnus who also studied under Pascal at the Ècole, where he graduated just one year before Shaw.[3] In 1908, Shaw left Lowell’s employ and opened his own architectural practice, which he pursued until 1916.[4] During the First World War, he served as a first lieutenant in the 489th Aero Squadron of the American Expeditionary Forces (AEF).[5] He was stationed at the U.S. Army’s Air Service Production center at Romorantin, France, where he worked with the Air Service Construction Division #2. During this time, he helped design and build air fields, assembly plants for the fabrication of American aircraft, and barracks for military personnel.[6] After the war, Shaw returned to the United States and partnered with Andrew H. Hepburn, an MIT graduate and practicing architect who had also worked under Guy Lowell.[7] The two men founded an architectural firm under the name of Shaw and Hepburn, which they managed together from 1918 to 1923.[8] When architect William G. Perry (another alumnus of Harvard, MIT, and the Ècole, as well as a former WWI Army Air Corps captain[9]) joined the partnership in 1923, the firm’s name changed to Perry, Shaw, and Hepburn.[10] In January 1927, William Perry (representing his partners Shaw and Hepburn) was invited by Reverend William A. R. Goodwin (the rector of Bruton Parish Church in Williamsburg) to produce drawings of Williamsburg as it may have looked in the eighteenth century.[11] Goodwin planned to submit the renderings to an unnamed donor who was interested in restoring the town to its former eighteenth-century appearance.[12] Shaw noted: “I worked on those drawings. We all did. We all worked on them (just like a projet in the Ècole des Beaux-Arts) to get them out.” [13] In late November 1927, after spending eleven months working pro bono[14] on a series of illustrations detailing the prospective restoration of the town and the College of William and Mary’s Wren Building, Perry submitted the firm’s drawings to Reverend Goodwin to deliver to his anonymous benefactor for consideration.[15] Soon after reviewing the architects’ work, Goodwin’s patron decided to begin funding the restoration of Williamsburg, and by early December 1927, the firm of Perry, Shaw, and Hepburn was approved “'to proceed with work on [the] Wren Building’ and reconstruction of the colonial Capitol and Governor’s Palace.”[16] It was not until April 1928, however, that the architects finally learned the identity of the secretive individual funding the endeavor.[17] The three men were summoned to New York for a meeting, where Goodwin introduced them to the wealthy businessman and philanthropist, John D. Rockefeller Jr.[18] After meeting the architects in person and discussing the project with them over lunch, Rockefeller decided that he liked what he had seen and heard. On 1 April 1928,[19] he “assigned overall ‘authority and responsibility’” of Williamsburg’s building and restoration to Perry, Shaw, and Hepburn.[20] Soon thereafter, the architects set up a small office in Williamsburg near Bruton Parish Church to manage the project.[21] The architects “soon found that drawing plans was only a minor part of the [project]. The hard part was finding out what kind of plans should be drawn.”[22] Consequently, they organized a staff of historical researchers to assist them in their efforts to restore and rebuild Williamsburg’s eighteenth-century structures as authentically as possible. “Very early in the project, [the architects] decided to establish the highest possible standards for the job. ‘Nothing was ever done without a good reason,’ Shaw once stated. ‘If there were no documented reasons for doing a particular thing, we didn’t do it.’”[23] Perry, Shaw, and Hepburn’s dedication to the ideals of historic preservation at Williamsburg also paralleled a larger “preservation fever” that was sweeping the nation in the 1920s, called the Colonial Revival.[24] “Historic preservation formed the core of the Colonial Revival, a social and stylistic mindset that peaked during the 1920s [25]…fueled by the usual turmoil – a world war, the Bolshevik Revolution, the Red Scare, and another spike in immigration, all of which increased the nostalgia for the good old colonial days.[26] ….Creating museums from historic buildings became a preferred philanthropy for the wealthy…and John D. Rockefeller Jr. launched the single largest preservation project the country had seen: Colonial Williamsburg.” [27] In the wake of the stock market crash of 1929 and the subsequent national economic collapse of the Great Depression, the fervor of the movement waned, as “only the wealthiest could afford to indulge in antiques, art, and architectural restoration.”[28] As one of the wealthiest men in the country, however, John D. Rockefeller Jr. was one of the few people who could indeed afford to finance his interests in the Colonial Revival. Despite the economic strife of the times, Rockefeller’s infusion of funds into Williamsburg not only helped support the research and restoration of this sleepy southern town back to its former eighteenth-century appearance as the colonial capitol of Virginia, but also provided Williamsburg with much-needed jobs during the worst years of the Depression. By the late 1930s, Rockefeller’s restoration had positioned the town as an architectural and cultural cornerstone of the Colonial Revival movement, fueled Colonial Revival sentiments in spite of the nation’s social and economic woes, and established Williamsburg as a pioneering example of historical preservation relating to the nation’s colonial and revolutionary past. In time, Thomas Mott Shaw was eventually “placed on [a] consulting basis” with Williamsburg’s Restoration “when an architectural department was established by Colonial Williamsburg” on 1 October 1934.[29] In 1938, Shaw was recognized by the American Institute of Architects for his work on the Williamsburg Inn, “chosen for its excellency of design wedded to the sensitive appreciation of location.”[30] He was awarded the Institute’s Bronze Medal of Honor, the highest award given to a practicing architect in the country.[31] In 1939, Shaw was placed on an annual retainer with the Restoration, though he continued working as a consultant for Colonial Williamsburg on various design and restoration projects. After a long and accomplished career, Thomas Mott Shaw died on 17 February 1965.[32] THE THOMAS MOTT SHAW COLLECTION This collection consists of thirty-four graphite and mixed media sketches drawn by architect Thomas Mott Shaw during the restoration of Colonial Williamsburg from the late 1920s through 1930s, depicting various architectural exteriors and interiors of historic buildings in and around Colonial Williamsburg’s Historic Area. It is not known precisely why these drawings were created – whether for in-house or external purposes by Perry, Shaw, and Hepburn, for Colonial Williamsburg’s staff or other interested parties, or perhaps even for Shaw’s own personal use – but they have since become historically important artifacts and images of Williamsburg’s Restoration period. These illustrations take us back in time to the early days of Williamsburg as a reconstructed historic site and living history museum, capturing views that offer interesting opportunities for insight and reflection into the early research, planning, design, building, and restoration of the town’s landscape, architecture, and character as Virginia’s eighteenth-century colonial capitol. The earliest sketch in this collection, drawn in 1928, features the Bracken Tenement (also known as the Bracken House) on Francis Street, which was one of the first buildings to be restored in Williamsburg by Perry, Shaw, and Hepburn[33] in 1928.[34] The latest sketch, drawn in 1938, depicts a proposed addition to the Williamsburg Inn which was never built. Otherwise, the majority of the drawings – thirty-two in number – were completed in 1933. In the fall of 1944, Shaw offered this collection of thirty-four sketches to the Colonial Williamsburg Foundation “for use in connection with publicity or any other purpose you would like to use them for.”[35] Upon review of the sketches, Colonial Williamsburg’s staff accepted them, stating: “These sketches are something which we definitely should have in our archives….Mr. Shaw has done them from photographs and that in this respect they are not such creative work as might be done on location without the use of photographs….We have not undertaken to determine how best they can be utilized but there are several possibilities which we should like to explore further.”[36] Though the sketches were thought to be “very good” and might be used in various ways,[37] Colonial Williamsburg’s staff chiefly appreciated the drawings for their “sentimental appeal by virtue of Mr. Shaw’s connection with Colonial Williamsburg”[38] and “the fact that they are the handiwork of Mr. Shaw, which…will make them quite valuable to Colonial Williamsburg in the future.”[39] Shaw’s sketches were purchased and accepted into the research archives of Colonial Williamsburg’s Architectural Department between November 1945 and January 1946. These drawings are now part of the Architectural Drawings Collection in the Special Collections wing of the Colonial Williamsburg Foundation’s John D. Rockefeller Jr. Library. While a separate collection of Shaw’s personal papers and drawings also reside within the Smithsonian Institution’s Archives of American Art in Washington, D.C.,[40] the Colonial Williamsburg Foundation is proud to possess the majority of Mr. Shaw’s drawings and correspondence associated with his meticulous and pioneering work on Williamsburg’s restoration. ENDNOTES [1] George H. Yetter, “Thomas Mott Shaw, F.A.I.A., 1878-1965” unpublished biography, Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation (Williamsburg, Va.: The Colonial Williamsburg Foundation). [2] Ibid. [3] Henry F. Withey and Elsie Rathburn Withey, Biographical Dictionary of American Architects [Deceased] (Los Angeles: Hennessey &amp; Ingalls, Inc., 1970), 381-382. [4] Yetter, “Thomas Mott Shaw, F.A.I.A., 1878-1965.” [5] George H. Yetter, handwritten notes compiled from Thomas Mott Shaw Papers (in Archives of American Art, Smithsonian Institution, gift of Sarah Quinan Shaw Johnson, Concord, Ma., 1975), Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation (Williamsburg, Va.: The Colonial Williamsburg Foundation). [6] Ibid.; see also “Colonial Williamsburg Logbook” biographical sheet on Thomas Mott Shaw, dated 15 March 1947, Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation (Williamsburg, Va.: The Colonial Williamsburg Foundation). [7] George H. Yetter, “Designers of Beauty: Academic Training and Williamsburg’s Architectural Restoration,” Colonial Williamsburg Journal (Winter 2012): 58. [8] Yetter, handwritten notes compiled from Thomas Mott Shaw Papers; see also “Colonial Williamsburg Logbook” biographical sheet. [9] Will Molineux, “The Architect of Colonial Williamsburg: William Graves Perry,” Colonial Williamsburg Journal (Autumn 2004), 61. [10] “Colonial Williamsburg Logbook” biographical sheet. [11] Fred Frechette, “Work on Restoration Started as ‘Bit of Fun,’” Richmond Times-Dispatch (Richmond, Va.), 21 May 1956, page number unknown, Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation. [12] Yetter, “Thomas Mott Shaw, F.A.I.A., 1878-1965.” [13] Ibid. (T.M. Shaw quote excerpted from “Reminiscences of Thomas Mott Shaw,” Colonial Williamsburg Foundation Archives, Oral History Collection, 11), Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation (Williamsburg, Va.: The Colonial Williamsburg Foundation). [14] Frechette, “Work on Restoration Started as ‘Bit of Fun.’” [15] George H. Yetter, “Thomas Mott Shaw” typewritten research notes, Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation (Williamsburg, Va.: The Colonial Williamsburg Foundation). [16] Molineux, “The Architect of Colonial Williamsburg,” 63. [17] Ibid. [18] Ibid. [19] Yetter, “Thomas Mott Shaw” typewritten research notes. [20] Molineux, 63; see also Frechette, “Work on Restoration Started as ‘Bit of Fun.’” [21] Molineux, 63. [22] Frechette, “Work on Restoration Started as ‘Bit of Fun.’” [23] Ibid. [24] Mary Miley Theobald, “The Colonial Revival: The Past that Never Dies,” Colonial Williamsburg Journal (Summer 2002), 81. [25] Ibid., 81. [26] Ibid., 84. [27] Ibid., 81. [28] Ibid., 84. [29] Yetter, “Thomas Mott Shaw” typewritten research notes. [30] Frechette, “Work on Restoration Started as ‘Bit of Fun.’” [31] Ibid. [32] Yetter, “Thomas Mott Shaw, F.A.I.A., 1878-1965.” [33] Frechette, “Work on Restoration Started as ‘Bit of Fun.’” [34]Carl Lounsbury, “Bracken Tenement: Block 2, Building 52,” Colonial Williamsburg Foundation website, n.d., http://research.history.org/Architectural_Research/Research_Articles/ThemeBldgs/Bracken.cfm (accessed 5 May 2014). [35] Letter from Thomas Mott Shaw to Vernon Geddy of Williamsburg Restoration, Inc., 25 October 1944, Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation. [36] Staff memo from B.W. Norton to Vernon Geddy of Williamsburg Restoration, Inc., 1 November 1945, Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation. [37] Staff memo from J.A. Upshur to Kenneth Chorley of Williamsburg Restoration, Inc., 12 January 1946, Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation. [38] Ibid. [39] Ibid. [40] Letter from Michael A. Grimes (archivist, Smithsonian Institution, Archives of American Art) to George H. Yetter (Associate Curator of Architectural Drawings, Colonial Williamsburg Foundation), 2 August 1989, Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation. SUGGESTIONS FOR FURTHER READING Chappell, Edward A. “Architects of Colonial Williamsburg” in Encyclopedia of Southern Culture, ed. by Charles Reagan Wilson, William R. Ferris, and Ann J. Adadie. Chapel Hill: University of North Carolina Press, 1989, 59-61. Greenspan, Anders. Creating Colonial Williamsburg: The Restoration of Virginia’s Eighteenth-Century Capitol. Chapel Hill: The University of North Carolina Press, 2002. Hosmer, Charles Bridgham, and National Trust for Historic Preservation in the United States. Preservation Comes of Age: From Williamsburg to the National Trust, 1926-1949, Vol. 1. Charlottesville: Published for the Preservation Press, National Trust for Historic Preservation in the United States by the University Press of Virginia, 1981. Kimball, Fiske, et al. The Restoration of Colonial Williamsburg in Virginia. New York: F.W. Dodge Corporation, 1935. Molineux, Will. “The Architect of Colonial Williamsburg: William Graves Perry,” Colonial Williamsburg Journal (August 2004): 58-65. Theobald, Mary Miley. “The Colonial Revival: The Past that Never Dies,” Colonial Williamsburg Journal (Summer 2002): 81-85. Yetter, George Humphrey. “Designers of Beauty: Academic Training and Williamsburg’s Architectural Restoration,” Colonial Williamsburg Journal (Winter 2012): 54-60. Yetter, George Humphrey. Williamsburg Before and After: The Rebirth of Virginia's Colonial Capital. Williamsburg, Va.: Colonial Williamsburg Foundation, 1988. Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Graphite on paper Physical Dimensions The actual physical size of the original image. 43.5 x 29.5 cm Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource John Blair House Subject The topic of the resource John Blair House (Williamsburg, Va.) Block 22. Building 05. Historic buildings - Virginia - Williamsburg Architecture, Colonial - Virginia - Williamsburg Architecture, Domestic - Virginia - Williamsburg Description An account of the resource <p>Exterior of the John Blair House, viewed from Duke of Gloucester Street, 1933. "The John Blair House and Kitchen on the north side of Duke of Gloucester Street was the home of a prominent family of Virginians. The Reverend James Blair (1655-1743), founder and first president of the College of William and Mary, came to Virginia in 1685....The original, easterly part of the John Blair House was built early in the eighteenth century. It is one of the oldest houses in Williamsburg. Town tradition has it that the stone steps at both doors came from the Palace Street theater. The steps were added when the house was lengthened twenty-eight feet to the west sometime during the second quarter of the eighteenth century."</p> <p>(Source: Michael Olmert and Suzanne Coffman, <em>Official Guide to Colonial Williamsburg</em> [Williamsburg, VA: The Colonial Williamsburg Foundation, 2007], 103-104).</p> Creator An entity primarily responsible for making the resource Shaw, Thomas Mott Date A point or period of time associated with an event in the lifecycle of the resource 1933 Date Created Date of creation of the resource. 1933 Rights Information about rights held in and over the resource This material is protected by copyright law (Title 17, U.S. Code). For reproduction queries: <a href="http://research.history.org/JDRLibrary/Visual_Resources/VisualResourcePermission.cfm">Rights and reproductions</a> Format The file format, physical medium, or dimensions of the resource jpeg Type The nature or genre of the resource Image Identifier An unambiguous reference to the resource within a given context D2008-COPY-1014-1003 Rights Holder A person or organization owning or managing rights over the resource. Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation Bruton Parish Church Chimneys Colonial Architecture Dormer Windows Dormers Duke of Gloucester Street Exteriors Fences Historic Buildings Hitching Posts John Blair House Lampposts Shutters Stairs Steeples Thomas Mott Shaw Virginia Weatherboarding Williamsburg https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/e7bed3999b837190547527ae23069c85.jpg?Expires=1779926400&Signature=ZkkjmyQ3pZUXT7CYuIxIea%7E2Y8SAI6EUH69zl0ZgqI80%7EK0XjAEMgxU9XG1EUKkG-DIGQYUce1tgbKczW0hEQb1%7EkbZHlWbRYTo-jfu7NMfSpn7fCGU4oKxA0bbNlWMgq9zGlhRC0r0sKS792xF9ITLEhybhX60UVd8qecD87T8j%7EcB%7EUGsDK-vkUIR0-A8VaeDqBDENXd9SFBhQIy0dqq48CEY6BnFEy9Q7eZzuh5qkJV7Ieu6zZXUhMIr1GrAi8iH7jMLEmAl8UKprrsH2uqExUAY1VT3TDFuWLVnfP%7EjEqMEniM2-HoX02vuJXCWnc7ymJ-BCPlWCdzELQCPPSg__&Key-Pair-Id=K6UGZS9ZTDSZM 0053937d670beba80c6fcbef17406af3 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 &amp; 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 &amp; Walker, McKim, Mead, &amp; 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 John Blair House, Exterior Subject The topic of the resource Block 22. Building 05. John Blair House (Williamsburg, Va.) Historic buildings -- Virginia -- Williamsburg Description An account of the resource <p>Exterior of the John Blair House, view from Duke of Gloucester Street, 1935. "The John Blair House and Kitchen on the north side of Duke of Gloucester Street was the home of a prominent family of Virginians. The Reverend James Blair (1655-1743), founder and first president of the College of William and Mary, came to Virginia in 1685....The original, easterly part of the John Blair House was built early in the eighteenth century. It is one of the oldest houses in Williamsburg. Town tradition has it that the stone steps at both doors came from the Palace Street theater. The steps were added when the house was lengthened twenty-eight feet to the west sometime during the second quarter of the eighteenth century."</p> <p>(Source: Michael Olmert and Suzanne Coffman, <em>Official Guide to Colonial Williamsburg</em> [Williamsburg, VA: The Colonial Williamsburg Foundation, 2007], 103-104).</p> Creator An entity primarily responsible for making the resource 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 LC363P1 Rights Holder A person or organization owning or managing rights over the resource. Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation Chimneys Dormer Windows Dormers Duke of Gloucester Street Exteriors F.S. Lincoln Fences Historic Buildings Hitching Posts John Blair House Stairs Virginia Weatherboarding Williamsburg