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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Peter Hornbeck Lantern Slide Collection
Subject
The topic of the resource
Lantern slides - Hand-colored - 1930-1940
Hornbeck, Peter - 1936-1998
Williamsburg (Va.)--History.
Architecture, Colonial - Virginia - Williamsburg
Description
An account of the resource
Mr. Peter Hornbeck, a renowned Landscape Architect and Harvard professor, assembled this collection of lantern slides produced between the late 1930s and early 1940s. A graduate of the University of Pennsylvania and the Harvard Graduate School of Design, Peter Hornbeck managed the landscape architecture firm of Hornbeck Associates in North Andover, Massachusetts during the 1950s. He became a faculty member of the Harvard Graduate School of Design in 1963 and taught courses focusing upon historic landscape preservation and city planning.. These lantern slides served as visual aids during lectures he gave about the Williamsburg Restoration and eighteenth-century garden history. The lantern slides encompass a variety of images of Williamsburg available commercially from A.D. Handy, F.S. Lincoln, Eldredge Studio, and the National Geographic Society. They also include some images of historic homes and gardens in other parts of Virginia and in Great Britain.
This collection is significant as a record of how landscape architects were interpreting and presenting eighteenth-century garden history during the 1930s and 1940s. It also provides a visual record of Williamsburg buildings and gardens before, during, and after the restoration work undertaken in the early 1930s. In addition, the collection documents how the Williamsburg Restoration publicized its work through commercial slide sets. For example, Mr. F.S. Lincoln, a New York photographer hired to compile a photographic portfolio of restored Williamsburg buildings for a special issue of the "Architectural Record" in 1935, also created colorized lantern slides of his photos for sale in Williamsburg shops. The Peter Hornbeck Lantern Slide Collection contains numerous examples of these early souvenir images.
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 nineteenth-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 twentieth-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.
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.
3.25 x 4 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
Parlor, Governor's Palace, Williamsburg, Va.
Creator
An entity primarily responsible for making the resource
Lincoln, F.S.
Is Part Of
A related resource in which the described resource is physically or logically included.
Peter Hornbeck Lantern Slides Collection, AV-2000.9, Box 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
HLS-110
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
Governor's Palace (Williamsburg, Va.)
Block 20. Building 03.
Public buildings - Virginia - Williamsburg
Historic buildings - Virginia - Williamsburg
Lincoln, F.S.
Furniture - Virginia - Williamsburg
Lantern slides - Hand-colored - 1930-1940
Description
An account of the resource
Interior of the parlor in the Governor's Palace, 1935. The painted portrait above the mantel represents King James I of England (and VI of Scotland). A handsome tilt-top mahogany tea table (accession # 1930-184) stands in the middle of the room, and an elegant card table stands to the left against the wall.
Interior furnishings and decor reflect curators' views in the 1930s as to how Williamsburg's historic interiors may have looked in the eighteenth century. Nevertheless, with the advance of new research findings over the years, the interiors of the Governor’s Palace have changed to reflect a more authentic and accurate view of the building’s likely contents and room arrangements.
Bas-Relief
Card Tables
Carpets
Chair Rails
Chess Boards
Clocks
F.S. Lincoln
Firedogs
Fireplaces
Floor Coverings
Flowers
Furnishings
Glass Transparencies
Governor's Palace
King James I
Lantern Slides
Mantels
Marble
Parlors
Peter Hornbeck
Sconces
Side Chairs
Tea Tables
Virginia
Wainscotting
Williamsburg
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Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
Bit Depth
8
Channels
3
Height
768
Width
410
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
An Architect of the Restoration: The Pencil Sketches of Thomas Mott Shaw, F.A.I.A.
Description
An account of the resource
BIOGRAPHY OF THOMAS MOTT SHAW, F.A.I.A.
Thomas Mott Shaw is best known as one of the founding partners and principal architects of the prominent Boston architectural firm Perry, Shaw, and Hepburn, which John D. Rockefeller Jr. hired in 1928 to design, plan, and supervise the groundbreaking historical restoration of Williamsburg, the former eighteenth-century capitol of Virginia.
Born in 1878 in Newport, Rhode Island, Thomas Mott Shaw received a bachelor’s degree from Harvard in 1900 and continued his education at the atelier (workshop) of Jean-Louis Pascal at the Ècole des Beaux-Arts in Paris from 1900 to 1905.[1] After graduation in 1905, he began working in Boston as a draftsman in the office of Guy Lowell, a prominent American architect and landscape architect who designed the Boston Museum of Fine Arts, as well as numerous other public, commercial, academic, and private buildings and spaces, including many distinguished estates and gardens.[2] Shaw’s connections to Lowell were presumably academic in nature, as Lowell was a former Harvard alumnus who also studied under Pascal at the Ècole, where he graduated just one year before Shaw.[3] In 1908, Shaw left Lowell’s employ and opened his own architectural practice, which he pursued until 1916.[4] During the First World War, he served as a first lieutenant in the 489th Aero Squadron of the American Expeditionary Forces (AEF).[5] He was stationed at the U.S. Army’s Air Service Production center at Romorantin, France, where he worked with the Air Service Construction Division #2. During this time, he helped design and build air fields, assembly plants for the fabrication of American aircraft, and barracks for military personnel.[6]
After the war, Shaw returned to the United States and partnered with Andrew H. Hepburn, an MIT graduate and practicing architect who had also worked under Guy Lowell.[7] The two men founded an architectural firm under the name of Shaw and Hepburn, which they managed together from 1918 to 1923.[8] When architect William G. Perry (another alumnus of Harvard, MIT, and the Ècole, as well as a former WWI Army Air Corps captain[9]) joined the partnership in 1923, the firm’s name changed to Perry, Shaw, and Hepburn.[10]
In January 1927, William Perry (representing his partners Shaw and Hepburn) was invited by Reverend William A. R. Goodwin (the rector of Bruton Parish Church in Williamsburg) to produce drawings of Williamsburg as it may have looked in the eighteenth century.[11] Goodwin planned to submit the renderings to an unnamed donor who was interested in restoring the town to its former eighteenth-century appearance.[12] Shaw noted: “I worked on those drawings. We all did. We all worked on them (just like a projet in the Ècole des Beaux-Arts) to get them out.” [13] In late November 1927, after spending eleven months working pro bono[14] on a series of illustrations detailing the prospective restoration of the town and the College of William and Mary’s Wren Building, Perry submitted the firm’s drawings to Reverend Goodwin to deliver to his anonymous benefactor for consideration.[15] Soon after reviewing the architects’ work, Goodwin’s patron decided to begin funding the restoration of Williamsburg, and by early December 1927, the firm of Perry, Shaw, and Hepburn was approved “'to proceed with work on [the] Wren Building’ and reconstruction of the colonial Capitol and Governor’s Palace.”[16] It was not until April 1928, however, that the architects finally learned the identity of the secretive individual funding the endeavor.[17] The three men were summoned to New York for a meeting, where Goodwin introduced them to the wealthy businessman and philanthropist, John D. Rockefeller Jr.[18] After meeting the architects in person and discussing the project with them over lunch, Rockefeller decided that he liked what he had seen and heard. On 1 April 1928,[19] he “assigned overall ‘authority and responsibility’” of Williamsburg’s building and restoration to Perry, Shaw, and Hepburn.[20] Soon thereafter, the architects set up a small office in Williamsburg near Bruton Parish Church to manage the project.[21]
The architects “soon found that drawing plans was only a minor part of the [project]. The hard part was finding out what kind of plans should be drawn.”[22] Consequently, they organized a staff of historical researchers to assist them in their efforts to restore and rebuild Williamsburg’s eighteenth-century structures as authentically as possible. “Very early in the project, [the architects] decided to establish the highest possible standards for the job. ‘Nothing was ever done without a good reason,’ Shaw once stated. ‘If there were no documented reasons for doing a particular thing, we didn’t do it.’”[23]
Perry, Shaw, and Hepburn’s dedication to the ideals of historic preservation at Williamsburg also paralleled a larger “preservation fever” that was sweeping the nation in the 1920s, called the Colonial Revival.[24] “Historic preservation formed the core of the Colonial Revival, a social and stylistic mindset that peaked during the 1920s [25]…fueled by the usual turmoil – a world war, the Bolshevik Revolution, the Red Scare, and another spike in immigration, all of which increased the nostalgia for the good old colonial days.[26] ….Creating museums from historic buildings became a preferred philanthropy for the wealthy…and John D. Rockefeller Jr. launched the single largest preservation project the country had seen: Colonial Williamsburg.” [27]
In the wake of the stock market crash of 1929 and the subsequent national economic collapse of the Great Depression, the fervor of the movement waned, as “only the wealthiest could afford to indulge in antiques, art, and architectural restoration.”[28] As one of the wealthiest men in the country, however, John D. Rockefeller Jr. was one of the few people who could indeed afford to finance his interests in the Colonial Revival. Despite the economic strife of the times, Rockefeller’s infusion of funds into Williamsburg not only helped support the research and restoration of this sleepy southern town back to its former eighteenth-century appearance as the colonial capitol of Virginia, but also provided Williamsburg with much-needed jobs during the worst years of the Depression. By the late 1930s, Rockefeller’s restoration had positioned the town as an architectural and cultural cornerstone of the Colonial Revival movement, fueled Colonial Revival sentiments in spite of the nation’s social and economic woes, and established Williamsburg as a pioneering example of historical preservation relating to the nation’s colonial and revolutionary past.
In time, Thomas Mott Shaw was eventually “placed on [a] consulting basis” with Williamsburg’s Restoration “when an architectural department was established by Colonial Williamsburg” on 1 October 1934.[29] In 1938, Shaw was recognized by the American Institute of Architects for his work on the Williamsburg Inn, “chosen for its excellency of design wedded to the sensitive appreciation of location.”[30] He was awarded the Institute’s Bronze Medal of Honor, the highest award given to a practicing architect in the country.[31] In 1939, Shaw was placed on an annual retainer with the Restoration, though he continued working as a consultant for Colonial Williamsburg on various design and restoration projects.
After a long and accomplished career, Thomas Mott Shaw died on 17 February 1965.[32]
THE THOMAS MOTT SHAW COLLECTION
This collection consists of thirty-four graphite and mixed media sketches drawn by architect Thomas Mott Shaw during the restoration of Colonial Williamsburg from the late 1920s through 1930s, depicting various architectural exteriors and interiors of historic buildings in and around Colonial Williamsburg’s Historic Area. It is not known precisely why these drawings were created – whether for in-house or external purposes by Perry, Shaw, and Hepburn, for Colonial Williamsburg’s staff or other interested parties, or perhaps even for Shaw’s own personal use – but they have since become historically important artifacts and images of Williamsburg’s Restoration period. These illustrations take us back in time to the early days of Williamsburg as a reconstructed historic site and living history museum, capturing views that offer interesting opportunities for insight and reflection into the early research, planning, design, building, and restoration of the town’s landscape, architecture, and character as Virginia’s eighteenth-century colonial capitol.
The earliest sketch in this collection, drawn in 1928, features the Bracken Tenement (also known as the Bracken House) on Francis Street, which was one of the first buildings to be restored in Williamsburg by Perry, Shaw, and Hepburn[33] in 1928.[34] The latest sketch, drawn in 1938, depicts a proposed addition to the Williamsburg Inn which was never built. Otherwise, the majority of the drawings – thirty-two in number – were completed in 1933.
In the fall of 1944, Shaw offered this collection of thirty-four sketches to the Colonial Williamsburg Foundation “for use in connection with publicity or any other purpose you would like to use them for.”[35] Upon review of the sketches, Colonial Williamsburg’s staff accepted them, stating: “These sketches are something which we definitely should have in our archives….Mr. Shaw has done them from photographs and that in this respect they are not such creative work as might be done on location without the use of photographs….We have not undertaken to determine how best they can be utilized but there are several possibilities which we should like to explore further.”[36]
Though the sketches were thought to be “very good” and might be used in various ways,[37] Colonial Williamsburg’s staff chiefly appreciated the drawings for their “sentimental appeal by virtue of Mr. Shaw’s connection with Colonial Williamsburg”[38] and “the fact that they are the handiwork of Mr. Shaw, which…will make them quite valuable to Colonial Williamsburg in the future.”[39]
Shaw’s sketches were purchased and accepted into the research archives of Colonial Williamsburg’s Architectural Department between November 1945 and January 1946. These drawings are now part of the Architectural Drawings Collection in the Special Collections wing of the Colonial Williamsburg Foundation’s John D. Rockefeller Jr. Library. While a separate collection of Shaw’s personal papers and drawings also reside within the Smithsonian Institution’s Archives of American Art in Washington, D.C.,[40] the Colonial Williamsburg Foundation is proud to possess the majority of Mr. Shaw’s drawings and correspondence associated with his meticulous and pioneering work on Williamsburg’s restoration.
ENDNOTES
[1] George H. Yetter, “Thomas Mott Shaw, F.A.I.A., 1878-1965” unpublished biography, Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation (Williamsburg, Va.: The Colonial Williamsburg Foundation).
[2] Ibid.
[3] Henry F. Withey and Elsie Rathburn Withey, Biographical Dictionary of American Architects [Deceased] (Los Angeles: Hennessey & Ingalls, Inc., 1970), 381-382.
[4] Yetter, “Thomas Mott Shaw, F.A.I.A., 1878-1965.”
[5] George H. Yetter, handwritten notes compiled from Thomas Mott Shaw Papers (in Archives of American Art, Smithsonian Institution, gift of Sarah Quinan Shaw Johnson, Concord, Ma., 1975), Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation (Williamsburg, Va.: The Colonial Williamsburg Foundation).
[6] Ibid.; see also “Colonial Williamsburg Logbook” biographical sheet on Thomas Mott Shaw, dated 15 March 1947, Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation (Williamsburg, Va.: The Colonial Williamsburg Foundation).
[7] George H. Yetter, “Designers of Beauty: Academic Training and Williamsburg’s Architectural Restoration,” Colonial Williamsburg Journal (Winter 2012): 58.
[8] Yetter, handwritten notes compiled from Thomas Mott Shaw Papers; see also “Colonial Williamsburg Logbook” biographical sheet.
[9] Will Molineux, “The Architect of Colonial Williamsburg: William Graves Perry,” Colonial Williamsburg Journal (Autumn 2004), 61.
[10] “Colonial Williamsburg Logbook” biographical sheet.
[11] Fred Frechette, “Work on Restoration Started as ‘Bit of Fun,’” Richmond Times-Dispatch (Richmond, Va.), 21 May 1956, page number unknown, Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation.
[12] Yetter, “Thomas Mott Shaw, F.A.I.A., 1878-1965.”
[13] Ibid. (T.M. Shaw quote excerpted from “Reminiscences of Thomas Mott Shaw,” Colonial Williamsburg Foundation Archives, Oral History Collection, 11), Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation (Williamsburg, Va.: The Colonial Williamsburg Foundation).
[14] Frechette, “Work on Restoration Started as ‘Bit of Fun.’”
[15] George H. Yetter, “Thomas Mott Shaw” typewritten research notes, Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation (Williamsburg, Va.: The Colonial Williamsburg Foundation).
[16] Molineux, “The Architect of Colonial Williamsburg,” 63.
[17] Ibid.
[18] Ibid.
[19] Yetter, “Thomas Mott Shaw” typewritten research notes.
[20] Molineux, 63; see also Frechette, “Work on Restoration Started as ‘Bit of Fun.’”
[21] Molineux, 63.
[22] Frechette, “Work on Restoration Started as ‘Bit of Fun.’”
[23] Ibid.
[24] Mary Miley Theobald, “The Colonial Revival: The Past that Never Dies,” Colonial Williamsburg Journal (Summer 2002), 81.
[25] Ibid., 81.
[26] Ibid., 84.
[27] Ibid., 81.
[28] Ibid., 84.
[29] Yetter, “Thomas Mott Shaw” typewritten research notes.
[30] Frechette, “Work on Restoration Started as ‘Bit of Fun.’”
[31] Ibid.
[32] Yetter, “Thomas Mott Shaw, F.A.I.A., 1878-1965.”
[33] Frechette, “Work on Restoration Started as ‘Bit of Fun.’”
[34]Carl Lounsbury, “Bracken Tenement: Block 2, Building 52,” Colonial Williamsburg Foundation website, n.d., http://research.history.org/Architectural_Research/Research_Articles/ThemeBldgs/Bracken.cfm (accessed 5 May 2014).
[35] Letter from Thomas Mott Shaw to Vernon Geddy of Williamsburg Restoration, Inc., 25 October 1944, Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation.
[36] Staff memo from B.W. Norton to Vernon Geddy of Williamsburg Restoration, Inc., 1 November 1945, Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation.
[37] Staff memo from J.A. Upshur to Kenneth Chorley of Williamsburg Restoration, Inc., 12 January 1946, Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation.
[38] Ibid.
[39] Ibid.
[40] Letter from Michael A. Grimes (archivist, Smithsonian Institution, Archives of American Art) to George H. Yetter (Associate Curator of Architectural Drawings, Colonial Williamsburg Foundation), 2 August 1989, Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation.
SUGGESTIONS FOR FURTHER READING
Chappell, Edward A. “Architects of Colonial Williamsburg” in Encyclopedia of Southern Culture, ed. by Charles
Reagan Wilson, William R. Ferris, and Ann J. Adadie. Chapel Hill: University of North Carolina Press, 1989, 59-61.
Greenspan, Anders. Creating Colonial Williamsburg: The Restoration of Virginia’s Eighteenth-Century Capitol. Chapel Hill: The University of North Carolina Press, 2002.
Hosmer, Charles Bridgham, and National Trust for Historic Preservation in the United States. Preservation Comes of Age: From Williamsburg to the National Trust, 1926-1949, Vol. 1. Charlottesville: Published for the Preservation Press, National Trust for Historic Preservation in the United States by the University Press of Virginia, 1981.
Kimball, Fiske, et al. The Restoration of Colonial Williamsburg in Virginia. New York: F.W. Dodge
Corporation, 1935.
Molineux, Will. “The Architect of Colonial Williamsburg: William Graves Perry,” Colonial Williamsburg Journal (August 2004): 58-65.
Theobald, Mary Miley. “The Colonial Revival: The Past that Never Dies,” Colonial Williamsburg Journal (Summer 2002): 81-85.
Yetter, George Humphrey. “Designers of Beauty: Academic Training and Williamsburg’s Architectural Restoration,” Colonial Williamsburg Journal (Winter 2012): 54-60.
Yetter, George Humphrey. Williamsburg Before and After: The Rebirth of Virginia's Colonial Capital. Williamsburg, Va.: Colonial Williamsburg Foundation, 1988.
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
Graphite on paper
Physical Dimensions
The actual physical size of the original image.
24 x 45 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
Botetourt Statue
Subject
The topic of the resource
Block 16. Building 3.
Botetourt, Norborne Berkeley, Baron de, approximately 1718-1770 - Statues - Virginia - Williamsburg
Sculpture - Virginia - Williamsburg
Wren Building (Williamsburg, Va.)
Description
An account of the resource
View of the statue of Lord Botetourt, in front of the east elevation of the Wren Building, College of William and Mary, 1933. "A unique historical monument, the Botetourt statue commemorates a popular governor of the colony of Virginia, Norborne Berkeley, Baron de Botetourt. Born in England in 1717 into a family which had already furnished the colony with one governor (Sir William Berkeley), Lord Botetourt was appointed Governor-General in August of 1768."
The statue of Lord Botetourt serves as a focal point on the path leading towards the Wren Building, whose features are thought to be based upon an adaptation of a Sir Christopher Wren design. Due to preservation concerns, the statue has since been moved to an indoor location. The Wren Building is one of the oldest academic structures in the United States, and retains a large portion of its original outside walls, despite being damaged by several fires in the eighteenth and nineteenth centuries.
(Source: Special Collections Research Center web page, "Lord Botetourt," The College of William and Mary's Earl Gregg Swem Library/Special Collections Research Center, 9 December 2013, <http://scdb.swem.wm.edu/wiki/index.php/Lord_Botetourt> [accessed 12 March 2014]).
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-1014-1005
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation
College of William and Mary
Colonial Architecture
East Elevation
Historic Buildings
Lord Botetourt
Marble
Public Buildings
Statues
Thomas Mott Shaw
Virginia
Williamsburg
Wren Building
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Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
Bit Depth
8
Channels
1
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768
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
F.S. Lincoln Photography Collection
Description
An account of the resource
The FS Lincoln Collection
Biographical Sketch
Mr. Fay S. Lincoln (known professionally as F.S. Lincoln) operated a photography studio in New York City from the 1930s until the mid 1960s. He was born in Keene, New Hampshire in 1894 and attended the Massachusetts Institute of Technology. Although he received training as an engineer, Mr. Lincoln chose to become a professional photographer in 1929, when he opened the firm of Nyholm & Lincoln in conjunction with another photographer, Peter Nyholm, in New York City. A few years later, he opened his own studio at 114 East 32nd St.1
In 1932, Lincoln began corresponding with Kenneth Chorley, President of the Colonial Williamsburg Foundation, about the possibility of contracting with the Foundation to photograph the completed restoration work at Williamsburg. Lincoln had learned that John D. Rockefeller, Jr. was looking for someone to create a master collection of photos of Williamsburg through Arthur S. Vernay, an acquaintance of Abby Aldrich Rockefeller. In his correspondence, Lincoln noted he had completed photographic assignments for many of the top architects and designers in New York, including Arthur S. Vernay, Joseph Urban, James Gamble Rogers, Voorhees, Gmelin & Walker, McKim, Mead, & White, Robert Locher, and Eugene Schoen. He also pointed out that he had sold architectural photos to many prominent magazines, including "Architectural Record," "National Geographic," "Country Life," "Architectural Forum," and "Spur."2
Lincoln's credentials, along with sample photographs and recommendations from magazine editors, enabled him to secure a contract with Colonial Williamsburg on April 22, 1935. According to the terms of the contract, Lincoln was hired to prepare a master collection of photographs and negatives that Colonial Williamsburg could sell to tourists and residents of Williamsburg, as well as use for promotional purposes. Lincoln retained the right to sell copies of his photographs at his New York studio, provided he consulted with the Foundation regarding the proposed use of the photographs. He also retained title to all negatives and copyright for all photos until the termination of his business. Plans for a traveling exhibition of Lincoln's photographs of Williamsburg were also mentioned in the contract.3
During 1935, F.S. Lincoln traveled to Williamsburg at seasonal intervals to photograph views requested by the Foundation. A panel of Colonial Williamsburg employees reviewed each series of photos and selected a group to be added to the master collection. F.S. Lincoln photos illustrated two portfolios about Colonial Williamsburg published in the "Architectural Record" in December 1935 and November 1936. Full-page black and white photos of restored buildings and gardens accompanied articles on the restoration written by Kenneth Chorley, Fiske Kimball, William G. Perry, and Arthur Shurcliff. Thus, Lincoln's photos gave the American public their first introduction to the completed restoration.
Lincoln had also been hired by Colonial Williamsburg to create a group of photographs of Williamsburg that could be exhibited. Correspondence between staff members indicates that John D. Rockefeller, Jr. hoped to mount a traveling exhibit of Williamsburg photographs. An exhibit of a selection of Lincoln's views of Williamsburg, along with photos he took for "Harper's Bazaar," "House and Garden," "House Beautiful," "Vanity Fair," "National Geographic," and "Town and Country," was held at the Rabinovitch Gallery in New York City from October 4-17, 1935.
Although Foundation employees were satisfied with the quality of Lincoln's photographs, they were dismayed by the cost of individual prints and enlargements. Memos exchanged between members of the marketing staff indicate that employees were having a hard time convincing distributors to purchase enlargements of the Lincoln photos for display in shop windows. As a result, the Foundation's agreement with F.S. Lincoln was terminated on April 21, 1936.4
Despite this setback, F.S. Lincoln secured contracts for many other architectural photography projects in the 1930s. He received numerous commissions to photograph buildings in New York City and also traveled abroad on several assignments. In 1934, he completed a portfolio of photos of Mont St. Michel and in 1938 he toured the deep South and photographed examples of antebellum architecture. Lincoln's photos were widely published in the 1930s and 1940s in such magazines as "Architectural Record," "House Beautiful," "National Geographic," "Country Life," and "Architectural Forum." In addition, he published a book of his photographs in 1946 entitled "Charleston: Photographic Studies by F.S. Lincoln."5
F.S. Lincoln continued to operate a photography studio in New York City until 1965, when he retired and moved to Center Hall, Pennsylvania to live with his sister. He forwarded all of his negatives of Williamsburg buildings to the Foundation in 1972, along with a letter stating that “the copyright of the photographs has run out, so you are free to use them as desired.”6 Upon his death in 1976, the remainder of Lincoln's archive of prints and negatives, as well as some business papers, were donated to the Pennsylvania State University Archives.
Scope and Contents
The F.S. Lincoln collection consists of black and white negatives and prints taken by Mr. Lincoln in preparation for the publication of "The Restoration of Colonial Williamsburg in Virginia," a series of articles appearing in the December 1935 and November 1936 issues of "The Architectural Record." Both issues featured a portfolio of buildings and gardens in the newly restored historic area of Williamsburg.
In order to produce a large pool of photos for use in these portfolios, Mr. Lincoln created comprehensive visual documentation of the work completed during the initial phases of the restoration (1927-1935.) He photographed the exteriors and interiors of thirty restored buildings, including the exhibition buildings open to the public, such as the Governor's Palace, the Capitol, Raleigh Tavern, Bruton Parish Church, the Wren Building, and the Powder Magazine. In addition, he captured exterior views of some of the shops open on Merchant's Square and restored buildings adapted for public use, such as the Public Library. He also photographed many of the gardens and garden ornaments throughout the restored area.
The collection is organized into series by format. Series included in the collection are negatives; bound matted and signed prints; unbound matted and signed prints; and small albums. Within each format, items are organized according to the numbering system assigned by Mr. Lincoln. The first three digits of numbers assigned to the images correspond to a particular building or subject category. For example, all images of the Capitol have numbers beginning with 325 and all miscellaneous views have numbers beginning with 365. After these first three digits, Lincoln added a P for print and then a successive number for each view. For example, the first view of the Capitol is number 325P1. An “LC” prefix has been added to all image numbers by the Colonial Williamsburg Foundation to identify the images as coming from the Lincoln Collection.
Endnotes
1 Champagne, Anne, “Fay S. Lincoln Collection,” History of Photography 17, (Spring 1993): 127-128.
2 F.S. Lincoln to B.W. Norton, October 18, 1933. Colonial Williamsburg Foundation Archives.
3 Agreement dated April 22, 1935 between Colonial Williamsburg, Inc. and F.S. Lincoln, Colonial Williamsburg Foundation Archives.
4 Mr. Norton to Mr. Darling, February 22, 1937; Kenneth Chorley to F.S. Lincoln, April 6, 1937, Colonial Williamsburg Foundation Archives.
5 Champagne, Anne, “Fay S. Lincoln Collection,” History of Photography 17 (Spring 1993): 128.
6 F.S. Lincoln to James R. Short, May 15, 1972, Colonial Williamsburg Foundation Archives.
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
Gelatin or collodian printing out paper with platinum toning, mounted on board
Physical Dimensions
The actual physical size of the original image.
8x10 inches
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Governor's Palace, Dining Room and Fireplace
Subject
The topic of the resource
Block 20. Building 03.
Governor’s Palace (Williamsburg, Va.)
Historic buildings -- Virginia -- Williamsburg
Public buildings -- Virginia -- Williamsburg
Furniture -- Virginia -- Williamsburg
Description
An account of the resource
Interior detail of the fireplace mantelpiece in the Dining Room of the Governor's Palace, 1935. Beautiful details characterize each fireplace within the meticulously reconstructed Governor's Palace, which opened as an exhibition building in April 1934. This close-up view of the ornate carving and marble facing on the fireplace in the governor's private dining room offers a glimpse into the lavish architectural elements of the royal residence. During excavations at the Governor's Palace site, archaeologists discovered fragments of fleur de peche marble around the surviving base of the the private dining room's chimney. Therefore, the same type of marble was used when reconstructing the private dining room's fireplace during the reconstruction of the Palace.
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
LC327P69
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation
Acanthus Leaves
Dining Room
F.S. Lincoln
Fireplaces
Governor's Palace
Governor's Private Dining Room
Historic Buildings
Mantels
Marble
Public Buildings
Rosettes
Virginia
Williamsburg
-
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Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
Bit Depth
8
Channels
1
Height
768
Width
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 & Lincoln in conjunction with another photographer, Peter Nyholm, in New York City. A few years later, he opened his own studio at 114 East 32nd St.1
In 1932, Lincoln began corresponding with Kenneth Chorley, President of the Colonial Williamsburg Foundation, about the possibility of contracting with the Foundation to photograph the completed restoration work at Williamsburg. Lincoln had learned that John D. Rockefeller, Jr. was looking for someone to create a master collection of photos of Williamsburg through Arthur S. Vernay, an acquaintance of Abby Aldrich Rockefeller. In his correspondence, Lincoln noted he had completed photographic assignments for many of the top architects and designers in New York, including Arthur S. Vernay, Joseph Urban, James Gamble Rogers, Voorhees, Gmelin & Walker, McKim, Mead, & White, Robert Locher, and Eugene Schoen. He also pointed out that he had sold architectural photos to many prominent magazines, including "Architectural Record," "National Geographic," "Country Life," "Architectural Forum," and "Spur."2
Lincoln's credentials, along with sample photographs and recommendations from magazine editors, enabled him to secure a contract with Colonial Williamsburg on April 22, 1935. According to the terms of the contract, Lincoln was hired to prepare a master collection of photographs and negatives that Colonial Williamsburg could sell to tourists and residents of Williamsburg, as well as use for promotional purposes. Lincoln retained the right to sell copies of his photographs at his New York studio, provided he consulted with the Foundation regarding the proposed use of the photographs. He also retained title to all negatives and copyright for all photos until the termination of his business. Plans for a traveling exhibition of Lincoln's photographs of Williamsburg were also mentioned in the contract.3
During 1935, F.S. Lincoln traveled to Williamsburg at seasonal intervals to photograph views requested by the Foundation. A panel of Colonial Williamsburg employees reviewed each series of photos and selected a group to be added to the master collection. F.S. Lincoln photos illustrated two portfolios about Colonial Williamsburg published in the "Architectural Record" in December 1935 and November 1936. Full-page black and white photos of restored buildings and gardens accompanied articles on the restoration written by Kenneth Chorley, Fiske Kimball, William G. Perry, and Arthur Shurcliff. Thus, Lincoln's photos gave the American public their first introduction to the completed restoration.
Lincoln had also been hired by Colonial Williamsburg to create a group of photographs of Williamsburg that could be exhibited. Correspondence between staff members indicates that John D. Rockefeller, Jr. hoped to mount a traveling exhibit of Williamsburg photographs. An exhibit of a selection of Lincoln's views of Williamsburg, along with photos he took for "Harper's Bazaar," "House and Garden," "House Beautiful," "Vanity Fair," "National Geographic," and "Town and Country," was held at the Rabinovitch Gallery in New York City from October 4-17, 1935.
Although Foundation employees were satisfied with the quality of Lincoln's photographs, they were dismayed by the cost of individual prints and enlargements. Memos exchanged between members of the marketing staff indicate that employees were having a hard time convincing distributors to purchase enlargements of the Lincoln photos for display in shop windows. As a result, the Foundation's agreement with F.S. Lincoln was terminated on April 21, 1936.4
Despite this setback, F.S. Lincoln secured contracts for many other architectural photography projects in the 1930s. He received numerous commissions to photograph buildings in New York City and also traveled abroad on several assignments. In 1934, he completed a portfolio of photos of Mont St. Michel and in 1938 he toured the deep South and photographed examples of antebellum architecture. Lincoln's photos were widely published in the 1930s and 1940s in such magazines as "Architectural Record," "House Beautiful," "National Geographic," "Country Life," and "Architectural Forum." In addition, he published a book of his photographs in 1946 entitled "Charleston: Photographic Studies by F.S. Lincoln."5
F.S. Lincoln continued to operate a photography studio in New York City until 1965, when he retired and moved to Center Hall, Pennsylvania to live with his sister. He forwarded all of his negatives of Williamsburg buildings to the Foundation in 1972, along with a letter stating that “the copyright of the photographs has run out, so you are free to use them as desired.”6 Upon his death in 1976, the remainder of Lincoln's archive of prints and negatives, as well as some business papers, were donated to the Pennsylvania State University Archives.
Scope and Contents
The F.S. Lincoln collection consists of black and white negatives and prints taken by Mr. Lincoln in preparation for the publication of "The Restoration of Colonial Williamsburg in Virginia," a series of articles appearing in the December 1935 and November 1936 issues of "The Architectural Record." Both issues featured a portfolio of buildings and gardens in the newly restored historic area of Williamsburg.
In order to produce a large pool of photos for use in these portfolios, Mr. Lincoln created comprehensive visual documentation of the work completed during the initial phases of the restoration (1927-1935.) He photographed the exteriors and interiors of thirty restored buildings, including the exhibition buildings open to the public, such as the Governor's Palace, the Capitol, Raleigh Tavern, Bruton Parish Church, the Wren Building, and the Powder Magazine. In addition, he captured exterior views of some of the shops open on Merchant's Square and restored buildings adapted for public use, such as the Public Library. He also photographed many of the gardens and garden ornaments throughout the restored area.
The collection is organized into series by format. Series included in the collection are negatives; bound matted and signed prints; unbound matted and signed prints; and small albums. Within each format, items are organized according to the numbering system assigned by Mr. Lincoln. The first three digits of numbers assigned to the images correspond to a particular building or subject category. For example, all images of the Capitol have numbers beginning with 325 and all miscellaneous views have numbers beginning with 365. After these first three digits, Lincoln added a P for print and then a successive number for each view. For example, the first view of the Capitol is number 325P1. An “LC” prefix has been added to all image numbers by the Colonial Williamsburg Foundation to identify the images as coming from the Lincoln Collection.
Endnotes
1 Champagne, Anne, “Fay S. Lincoln Collection,” History of Photography 17, (Spring 1993): 127-128.
2 F.S. Lincoln to B.W. Norton, October 18, 1933. Colonial Williamsburg Foundation Archives.
3 Agreement dated April 22, 1935 between Colonial Williamsburg, Inc. and F.S. Lincoln, Colonial Williamsburg Foundation Archives.
4 Mr. Norton to Mr. Darling, February 22, 1937; Kenneth Chorley to F.S. Lincoln, April 6, 1937, Colonial Williamsburg Foundation Archives.
5 Champagne, Anne, “Fay S. Lincoln Collection,” History of Photography 17 (Spring 1993): 128.
6 F.S. Lincoln to James R. Short, May 15, 1972, Colonial Williamsburg Foundation Archives.
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
Gelatin or collodian printing out paper with platinum toning, mounted on board
Physical Dimensions
The actual physical size of the original image.
8x10 inches
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Governor's Palace, Dining Room
Subject
The topic of the resource
Block 20. Building 03.
Governor’s Palace (Williamsburg, Va.)
Historic buildings -- Virginia -- Williamsburg
Public buildings -- Virginia -- Williamsburg
Furniture -- Virginia -- Williamsburg
Description
An account of the resource
<p>Interior of the Dining Room in the Governor's Palace, 1935. The painting on the wall may be a portrait of the young Prince William, Duke of Gloucester (1689-1700), son of the future Queen Anne. (This painting is possibly a former loan to the museum). Among the room's furnishings, a beautiful <strong><a href="http://emuseum.history.org/view/objects/asitem/items$0040:51129#.UxeYNYc4H_M.gmail">corner table (accession # 1930-227)</a></strong>, made of mahogany, maple, and white pine, stands in the corner.</p>
<p>Interior furnishings and decor reflect curators' views in the 1930s as to how Williamsburg's historic interiors may have looked in the eighteenth century. Nevertheless, with new research advancements over the years, the interiors of the Governor’s Palace have changed to reflect a more authentic and accurate view of the building’s likely contents and room arrangements.</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
LC327P68
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation
Ceramics
Corner Tables
Dentils
Dining Room
Dining Tables
F.S. Lincoln
Firedogs
Fireplaces
Governor's Palace
Historic Buildings
Mantels
Marble
Moldings
Paintings
Portraits
Public Buildings
Side Chairs
Virginia
Williamsburg
-
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456746cc2313237cf4e7f1a5460033fa
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
966
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
F.S. Lincoln Photography Collection
Description
An account of the resource
The FS Lincoln Collection
Biographical Sketch
Mr. Fay S. Lincoln (known professionally as F.S. Lincoln) operated a photography studio in New York City from the 1930s until the mid 1960s. He was born in Keene, New Hampshire in 1894 and attended the Massachusetts Institute of Technology. Although he received training as an engineer, Mr. Lincoln chose to become a professional photographer in 1929, when he opened the firm of Nyholm & Lincoln in conjunction with another photographer, Peter Nyholm, in New York City. A few years later, he opened his own studio at 114 East 32nd St.1
In 1932, Lincoln began corresponding with Kenneth Chorley, President of the Colonial Williamsburg Foundation, about the possibility of contracting with the Foundation to photograph the completed restoration work at Williamsburg. Lincoln had learned that John D. Rockefeller, Jr. was looking for someone to create a master collection of photos of Williamsburg through Arthur S. Vernay, an acquaintance of Abby Aldrich Rockefeller. In his correspondence, Lincoln noted he had completed photographic assignments for many of the top architects and designers in New York, including Arthur S. Vernay, Joseph Urban, James Gamble Rogers, Voorhees, Gmelin & Walker, McKim, Mead, & White, Robert Locher, and Eugene Schoen. He also pointed out that he had sold architectural photos to many prominent magazines, including "Architectural Record," "National Geographic," "Country Life," "Architectural Forum," and "Spur."2
Lincoln's credentials, along with sample photographs and recommendations from magazine editors, enabled him to secure a contract with Colonial Williamsburg on April 22, 1935. According to the terms of the contract, Lincoln was hired to prepare a master collection of photographs and negatives that Colonial Williamsburg could sell to tourists and residents of Williamsburg, as well as use for promotional purposes. Lincoln retained the right to sell copies of his photographs at his New York studio, provided he consulted with the Foundation regarding the proposed use of the photographs. He also retained title to all negatives and copyright for all photos until the termination of his business. Plans for a traveling exhibition of Lincoln's photographs of Williamsburg were also mentioned in the contract.3
During 1935, F.S. Lincoln traveled to Williamsburg at seasonal intervals to photograph views requested by the Foundation. A panel of Colonial Williamsburg employees reviewed each series of photos and selected a group to be added to the master collection. F.S. Lincoln photos illustrated two portfolios about Colonial Williamsburg published in the "Architectural Record" in December 1935 and November 1936. Full-page black and white photos of restored buildings and gardens accompanied articles on the restoration written by Kenneth Chorley, Fiske Kimball, William G. Perry, and Arthur Shurcliff. Thus, Lincoln's photos gave the American public their first introduction to the completed restoration.
Lincoln had also been hired by Colonial Williamsburg to create a group of photographs of Williamsburg that could be exhibited. Correspondence between staff members indicates that John D. Rockefeller, Jr. hoped to mount a traveling exhibit of Williamsburg photographs. An exhibit of a selection of Lincoln's views of Williamsburg, along with photos he took for "Harper's Bazaar," "House and Garden," "House Beautiful," "Vanity Fair," "National Geographic," and "Town and Country," was held at the Rabinovitch Gallery in New York City from October 4-17, 1935.
Although Foundation employees were satisfied with the quality of Lincoln's photographs, they were dismayed by the cost of individual prints and enlargements. Memos exchanged between members of the marketing staff indicate that employees were having a hard time convincing distributors to purchase enlargements of the Lincoln photos for display in shop windows. As a result, the Foundation's agreement with F.S. Lincoln was terminated on April 21, 1936.4
Despite this setback, F.S. Lincoln secured contracts for many other architectural photography projects in the 1930s. He received numerous commissions to photograph buildings in New York City and also traveled abroad on several assignments. In 1934, he completed a portfolio of photos of Mont St. Michel and in 1938 he toured the deep South and photographed examples of antebellum architecture. Lincoln's photos were widely published in the 1930s and 1940s in such magazines as "Architectural Record," "House Beautiful," "National Geographic," "Country Life," and "Architectural Forum." In addition, he published a book of his photographs in 1946 entitled "Charleston: Photographic Studies by F.S. Lincoln."5
F.S. Lincoln continued to operate a photography studio in New York City until 1965, when he retired and moved to Center Hall, Pennsylvania to live with his sister. He forwarded all of his negatives of Williamsburg buildings to the Foundation in 1972, along with a letter stating that “the copyright of the photographs has run out, so you are free to use them as desired.”6 Upon his death in 1976, the remainder of Lincoln's archive of prints and negatives, as well as some business papers, were donated to the Pennsylvania State University Archives.
Scope and Contents
The F.S. Lincoln collection consists of black and white negatives and prints taken by Mr. Lincoln in preparation for the publication of "The Restoration of Colonial Williamsburg in Virginia," a series of articles appearing in the December 1935 and November 1936 issues of "The Architectural Record." Both issues featured a portfolio of buildings and gardens in the newly restored historic area of Williamsburg.
In order to produce a large pool of photos for use in these portfolios, Mr. Lincoln created comprehensive visual documentation of the work completed during the initial phases of the restoration (1927-1935.) He photographed the exteriors and interiors of thirty restored buildings, including the exhibition buildings open to the public, such as the Governor's Palace, the Capitol, Raleigh Tavern, Bruton Parish Church, the Wren Building, and the Powder Magazine. In addition, he captured exterior views of some of the shops open on Merchant's Square and restored buildings adapted for public use, such as the Public Library. He also photographed many of the gardens and garden ornaments throughout the restored area.
The collection is organized into series by format. Series included in the collection are negatives; bound matted and signed prints; unbound matted and signed prints; and small albums. Within each format, items are organized according to the numbering system assigned by Mr. Lincoln. The first three digits of numbers assigned to the images correspond to a particular building or subject category. For example, all images of the Capitol have numbers beginning with 325 and all miscellaneous views have numbers beginning with 365. After these first three digits, Lincoln added a P for print and then a successive number for each view. For example, the first view of the Capitol is number 325P1. An “LC” prefix has been added to all image numbers by the Colonial Williamsburg Foundation to identify the images as coming from the Lincoln Collection.
Endnotes
1 Champagne, Anne, “Fay S. Lincoln Collection,” History of Photography 17, (Spring 1993): 127-128.
2 F.S. Lincoln to B.W. Norton, October 18, 1933. Colonial Williamsburg Foundation Archives.
3 Agreement dated April 22, 1935 between Colonial Williamsburg, Inc. and F.S. Lincoln, Colonial Williamsburg Foundation Archives.
4 Mr. Norton to Mr. Darling, February 22, 1937; Kenneth Chorley to F.S. Lincoln, April 6, 1937, Colonial Williamsburg Foundation Archives.
5 Champagne, Anne, “Fay S. Lincoln Collection,” History of Photography 17 (Spring 1993): 128.
6 F.S. Lincoln to James R. Short, May 15, 1972, Colonial Williamsburg Foundation Archives.
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
Gelatin or collodian printing out paper with platinum toning, mounted on board
Physical Dimensions
The actual physical size of the original image.
8x10 inches
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Governor's Palace, Parlor and Fireplace
Subject
The topic of the resource
Block 20. Building 03.
Governor’s Palace (Williamsburg, Va.)
Historic buildings -- Virginia -- Williamsburg
Public buildings -- Virginia -- Williamsburg
Furniture -- Virginia -- Williamsburg
Description
An account of the resource
Interior detail of the mantel in the Parlor of the Governor's Palace, 1935. The mantelpiece features marble inlay, highlighted by a delicately carved bas-relief scene of deer in a forest in the top-center marble panel above the fireplace.
Interior furnishings and decor reflect curators' views in the 1930s as to how Williamsburg's historic interiors may have looked in the eighteenth century. Nevertheless, with new research advancements over the years, the interiors of the Governor’s Palace have changed to reflect a more authentic and accurate view of the building’s likely contents and room arrangements.
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
LC327P66
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation
Bas-Relief
Chair Rails
Clocks
F.S. Lincoln
Firedogs
Fireplaces
Flowers
Governor's Palace
Historic Buildings
Mantels
Marble
Public Buildings
Virginia
Wainscotting
Williamsburg
-
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Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
Bit Depth
8
Channels
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
F.S. Lincoln Photography Collection
Description
An account of the resource
The FS Lincoln Collection
Biographical Sketch
Mr. Fay S. Lincoln (known professionally as F.S. Lincoln) operated a photography studio in New York City from the 1930s until the mid 1960s. He was born in Keene, New Hampshire in 1894 and attended the Massachusetts Institute of Technology. Although he received training as an engineer, Mr. Lincoln chose to become a professional photographer in 1929, when he opened the firm of Nyholm & Lincoln in conjunction with another photographer, Peter Nyholm, in New York City. A few years later, he opened his own studio at 114 East 32nd St.1
In 1932, Lincoln began corresponding with Kenneth Chorley, President of the Colonial Williamsburg Foundation, about the possibility of contracting with the Foundation to photograph the completed restoration work at Williamsburg. Lincoln had learned that John D. Rockefeller, Jr. was looking for someone to create a master collection of photos of Williamsburg through Arthur S. Vernay, an acquaintance of Abby Aldrich Rockefeller. In his correspondence, Lincoln noted he had completed photographic assignments for many of the top architects and designers in New York, including Arthur S. Vernay, Joseph Urban, James Gamble Rogers, Voorhees, Gmelin & Walker, McKim, Mead, & White, Robert Locher, and Eugene Schoen. He also pointed out that he had sold architectural photos to many prominent magazines, including "Architectural Record," "National Geographic," "Country Life," "Architectural Forum," and "Spur."2
Lincoln's credentials, along with sample photographs and recommendations from magazine editors, enabled him to secure a contract with Colonial Williamsburg on April 22, 1935. According to the terms of the contract, Lincoln was hired to prepare a master collection of photographs and negatives that Colonial Williamsburg could sell to tourists and residents of Williamsburg, as well as use for promotional purposes. Lincoln retained the right to sell copies of his photographs at his New York studio, provided he consulted with the Foundation regarding the proposed use of the photographs. He also retained title to all negatives and copyright for all photos until the termination of his business. Plans for a traveling exhibition of Lincoln's photographs of Williamsburg were also mentioned in the contract.3
During 1935, F.S. Lincoln traveled to Williamsburg at seasonal intervals to photograph views requested by the Foundation. A panel of Colonial Williamsburg employees reviewed each series of photos and selected a group to be added to the master collection. F.S. Lincoln photos illustrated two portfolios about Colonial Williamsburg published in the "Architectural Record" in December 1935 and November 1936. Full-page black and white photos of restored buildings and gardens accompanied articles on the restoration written by Kenneth Chorley, Fiske Kimball, William G. Perry, and Arthur Shurcliff. Thus, Lincoln's photos gave the American public their first introduction to the completed restoration.
Lincoln had also been hired by Colonial Williamsburg to create a group of photographs of Williamsburg that could be exhibited. Correspondence between staff members indicates that John D. Rockefeller, Jr. hoped to mount a traveling exhibit of Williamsburg photographs. An exhibit of a selection of Lincoln's views of Williamsburg, along with photos he took for "Harper's Bazaar," "House and Garden," "House Beautiful," "Vanity Fair," "National Geographic," and "Town and Country," was held at the Rabinovitch Gallery in New York City from October 4-17, 1935.
Although Foundation employees were satisfied with the quality of Lincoln's photographs, they were dismayed by the cost of individual prints and enlargements. Memos exchanged between members of the marketing staff indicate that employees were having a hard time convincing distributors to purchase enlargements of the Lincoln photos for display in shop windows. As a result, the Foundation's agreement with F.S. Lincoln was terminated on April 21, 1936.4
Despite this setback, F.S. Lincoln secured contracts for many other architectural photography projects in the 1930s. He received numerous commissions to photograph buildings in New York City and also traveled abroad on several assignments. In 1934, he completed a portfolio of photos of Mont St. Michel and in 1938 he toured the deep South and photographed examples of antebellum architecture. Lincoln's photos were widely published in the 1930s and 1940s in such magazines as "Architectural Record," "House Beautiful," "National Geographic," "Country Life," and "Architectural Forum." In addition, he published a book of his photographs in 1946 entitled "Charleston: Photographic Studies by F.S. Lincoln."5
F.S. Lincoln continued to operate a photography studio in New York City until 1965, when he retired and moved to Center Hall, Pennsylvania to live with his sister. He forwarded all of his negatives of Williamsburg buildings to the Foundation in 1972, along with a letter stating that “the copyright of the photographs has run out, so you are free to use them as desired.”6 Upon his death in 1976, the remainder of Lincoln's archive of prints and negatives, as well as some business papers, were donated to the Pennsylvania State University Archives.
Scope and Contents
The F.S. Lincoln collection consists of black and white negatives and prints taken by Mr. Lincoln in preparation for the publication of "The Restoration of Colonial Williamsburg in Virginia," a series of articles appearing in the December 1935 and November 1936 issues of "The Architectural Record." Both issues featured a portfolio of buildings and gardens in the newly restored historic area of Williamsburg.
In order to produce a large pool of photos for use in these portfolios, Mr. Lincoln created comprehensive visual documentation of the work completed during the initial phases of the restoration (1927-1935.) He photographed the exteriors and interiors of thirty restored buildings, including the exhibition buildings open to the public, such as the Governor's Palace, the Capitol, Raleigh Tavern, Bruton Parish Church, the Wren Building, and the Powder Magazine. In addition, he captured exterior views of some of the shops open on Merchant's Square and restored buildings adapted for public use, such as the Public Library. He also photographed many of the gardens and garden ornaments throughout the restored area.
The collection is organized into series by format. Series included in the collection are negatives; bound matted and signed prints; unbound matted and signed prints; and small albums. Within each format, items are organized according to the numbering system assigned by Mr. Lincoln. The first three digits of numbers assigned to the images correspond to a particular building or subject category. For example, all images of the Capitol have numbers beginning with 325 and all miscellaneous views have numbers beginning with 365. After these first three digits, Lincoln added a P for print and then a successive number for each view. For example, the first view of the Capitol is number 325P1. An “LC” prefix has been added to all image numbers by the Colonial Williamsburg Foundation to identify the images as coming from the Lincoln Collection.
Endnotes
1 Champagne, Anne, “Fay S. Lincoln Collection,” History of Photography 17, (Spring 1993): 127-128.
2 F.S. Lincoln to B.W. Norton, October 18, 1933. Colonial Williamsburg Foundation Archives.
3 Agreement dated April 22, 1935 between Colonial Williamsburg, Inc. and F.S. Lincoln, Colonial Williamsburg Foundation Archives.
4 Mr. Norton to Mr. Darling, February 22, 1937; Kenneth Chorley to F.S. Lincoln, April 6, 1937, Colonial Williamsburg Foundation Archives.
5 Champagne, Anne, “Fay S. Lincoln Collection,” History of Photography 17 (Spring 1993): 128.
6 F.S. Lincoln to James R. Short, May 15, 1972, Colonial Williamsburg Foundation Archives.
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
Gelatin or collodian printing out paper with platinum toning, mounted on board
Physical Dimensions
The actual physical size of the original image.
8x10 inches
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Governor's Palace, Parlor
Subject
The topic of the resource
Block 20. Building 03.
Governor’s Palace (Williamsburg, Va.)
Historic buildings -- Virginia -- Williamsburg
Public buildings -- Virginia -- Williamsburg
Furniture -- Virginia -- Williamsburg
Description
An account of the resource
<p>Interior of the parlor in the Governor's Palace, 1935. The painted portrait above the mantel represents King James I of England (and VI of Scotland). A handsome tilt-top mahogany <strong><a href="http://emuseum.history.org/view/objects/asitem/items$0040:46574#.UxeNhQQ60AA.gmail">tea table (accession # 1930-184)</a></strong> stands in the middle of the room, and an elegant card table stands to the left against the wall.</p>
<p>Interior furnishings and decor reflect curators' views in the 1930s as to how Williamsburg's historic interiors may have looked in the eighteenth century. Nevertheless, with the advance of new research findings over the years, the interiors of the Governor’s Palace have changed to reflect a more authentic and accurate view of the building’s likely contents and room arrangements.</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
LC327P65
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation
Bas-Relief
Card Tables
Carpets
Chair Rails
Chess Boards
Clocks
F.S. Lincoln
Firedogs
Fireplaces
Floor Coverings
Flowers
Governor's Palace
Historic Buildings
King James I
Mantels
Marble
Paintings
Portraits
Public Buildings
Sconces
Side Chairs
Tea Tables
Virginia
Wainscotting
Williamsburg
-
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Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
Bit Depth
8
Channels
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768
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605
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
F.S. Lincoln Photography Collection
Description
An account of the resource
The FS Lincoln Collection
Biographical Sketch
Mr. Fay S. Lincoln (known professionally as F.S. Lincoln) operated a photography studio in New York City from the 1930s until the mid 1960s. He was born in Keene, New Hampshire in 1894 and attended the Massachusetts Institute of Technology. Although he received training as an engineer, Mr. Lincoln chose to become a professional photographer in 1929, when he opened the firm of Nyholm & Lincoln in conjunction with another photographer, Peter Nyholm, in New York City. A few years later, he opened his own studio at 114 East 32nd St.1
In 1932, Lincoln began corresponding with Kenneth Chorley, President of the Colonial Williamsburg Foundation, about the possibility of contracting with the Foundation to photograph the completed restoration work at Williamsburg. Lincoln had learned that John D. Rockefeller, Jr. was looking for someone to create a master collection of photos of Williamsburg through Arthur S. Vernay, an acquaintance of Abby Aldrich Rockefeller. In his correspondence, Lincoln noted he had completed photographic assignments for many of the top architects and designers in New York, including Arthur S. Vernay, Joseph Urban, James Gamble Rogers, Voorhees, Gmelin & Walker, McKim, Mead, & White, Robert Locher, and Eugene Schoen. He also pointed out that he had sold architectural photos to many prominent magazines, including "Architectural Record," "National Geographic," "Country Life," "Architectural Forum," and "Spur."2
Lincoln's credentials, along with sample photographs and recommendations from magazine editors, enabled him to secure a contract with Colonial Williamsburg on April 22, 1935. According to the terms of the contract, Lincoln was hired to prepare a master collection of photographs and negatives that Colonial Williamsburg could sell to tourists and residents of Williamsburg, as well as use for promotional purposes. Lincoln retained the right to sell copies of his photographs at his New York studio, provided he consulted with the Foundation regarding the proposed use of the photographs. He also retained title to all negatives and copyright for all photos until the termination of his business. Plans for a traveling exhibition of Lincoln's photographs of Williamsburg were also mentioned in the contract.3
During 1935, F.S. Lincoln traveled to Williamsburg at seasonal intervals to photograph views requested by the Foundation. A panel of Colonial Williamsburg employees reviewed each series of photos and selected a group to be added to the master collection. F.S. Lincoln photos illustrated two portfolios about Colonial Williamsburg published in the "Architectural Record" in December 1935 and November 1936. Full-page black and white photos of restored buildings and gardens accompanied articles on the restoration written by Kenneth Chorley, Fiske Kimball, William G. Perry, and Arthur Shurcliff. Thus, Lincoln's photos gave the American public their first introduction to the completed restoration.
Lincoln had also been hired by Colonial Williamsburg to create a group of photographs of Williamsburg that could be exhibited. Correspondence between staff members indicates that John D. Rockefeller, Jr. hoped to mount a traveling exhibit of Williamsburg photographs. An exhibit of a selection of Lincoln's views of Williamsburg, along with photos he took for "Harper's Bazaar," "House and Garden," "House Beautiful," "Vanity Fair," "National Geographic," and "Town and Country," was held at the Rabinovitch Gallery in New York City from October 4-17, 1935.
Although Foundation employees were satisfied with the quality of Lincoln's photographs, they were dismayed by the cost of individual prints and enlargements. Memos exchanged between members of the marketing staff indicate that employees were having a hard time convincing distributors to purchase enlargements of the Lincoln photos for display in shop windows. As a result, the Foundation's agreement with F.S. Lincoln was terminated on April 21, 1936.4
Despite this setback, F.S. Lincoln secured contracts for many other architectural photography projects in the 1930s. He received numerous commissions to photograph buildings in New York City and also traveled abroad on several assignments. In 1934, he completed a portfolio of photos of Mont St. Michel and in 1938 he toured the deep South and photographed examples of antebellum architecture. Lincoln's photos were widely published in the 1930s and 1940s in such magazines as "Architectural Record," "House Beautiful," "National Geographic," "Country Life," and "Architectural Forum." In addition, he published a book of his photographs in 1946 entitled "Charleston: Photographic Studies by F.S. Lincoln."5
F.S. Lincoln continued to operate a photography studio in New York City until 1965, when he retired and moved to Center Hall, Pennsylvania to live with his sister. He forwarded all of his negatives of Williamsburg buildings to the Foundation in 1972, along with a letter stating that “the copyright of the photographs has run out, so you are free to use them as desired.”6 Upon his death in 1976, the remainder of Lincoln's archive of prints and negatives, as well as some business papers, were donated to the Pennsylvania State University Archives.
Scope and Contents
The F.S. Lincoln collection consists of black and white negatives and prints taken by Mr. Lincoln in preparation for the publication of "The Restoration of Colonial Williamsburg in Virginia," a series of articles appearing in the December 1935 and November 1936 issues of "The Architectural Record." Both issues featured a portfolio of buildings and gardens in the newly restored historic area of Williamsburg.
In order to produce a large pool of photos for use in these portfolios, Mr. Lincoln created comprehensive visual documentation of the work completed during the initial phases of the restoration (1927-1935.) He photographed the exteriors and interiors of thirty restored buildings, including the exhibition buildings open to the public, such as the Governor's Palace, the Capitol, Raleigh Tavern, Bruton Parish Church, the Wren Building, and the Powder Magazine. In addition, he captured exterior views of some of the shops open on Merchant's Square and restored buildings adapted for public use, such as the Public Library. He also photographed many of the gardens and garden ornaments throughout the restored area.
The collection is organized into series by format. Series included in the collection are negatives; bound matted and signed prints; unbound matted and signed prints; and small albums. Within each format, items are organized according to the numbering system assigned by Mr. Lincoln. The first three digits of numbers assigned to the images correspond to a particular building or subject category. For example, all images of the Capitol have numbers beginning with 325 and all miscellaneous views have numbers beginning with 365. After these first three digits, Lincoln added a P for print and then a successive number for each view. For example, the first view of the Capitol is number 325P1. An “LC” prefix has been added to all image numbers by the Colonial Williamsburg Foundation to identify the images as coming from the Lincoln Collection.
Endnotes
1 Champagne, Anne, “Fay S. Lincoln Collection,” History of Photography 17, (Spring 1993): 127-128.
2 F.S. Lincoln to B.W. Norton, October 18, 1933. Colonial Williamsburg Foundation Archives.
3 Agreement dated April 22, 1935 between Colonial Williamsburg, Inc. and F.S. Lincoln, Colonial Williamsburg Foundation Archives.
4 Mr. Norton to Mr. Darling, February 22, 1937; Kenneth Chorley to F.S. Lincoln, April 6, 1937, Colonial Williamsburg Foundation Archives.
5 Champagne, Anne, “Fay S. Lincoln Collection,” History of Photography 17 (Spring 1993): 128.
6 F.S. Lincoln to James R. Short, May 15, 1972, Colonial Williamsburg Foundation Archives.
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
Gelatin or collodian printing out paper with platinum toning, mounted on board
Physical Dimensions
The actual physical size of the original image.
8x10 inches
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Governor's Palace, Upper Middle Room and Fireplace
Subject
The topic of the resource
Block 20. Building 03.
Governor’s Palace (Williamsburg, Va.)
Historic buildings -- Virginia -- Williamsburg
Public buildings -- Virginia -- Williamsburg
Furniture -- Virginia -- Williamsburg
Description
An account of the resource
Interior detail of the mantel in the Upper Middle Room of the Governor's Palace, 1935. The mantelpiece surrounding the fireplace exhibits richly carved neo-classical ornamentation. The room's former hand-tooled leather wall coverings are also visible on the walls, though they have now been removed due to deterioration. Interior furnishings and decor reflect curators' views in the 1930s as to how Williamsburg's historic interiors may have looked in the eighteenth century. Nevertheless, with new research advancements over the years, the interiors of the Governor’s Palace have changed to reflect a more authentic and accurate view of the building’s likely contents and room arrangements.
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
LC327P59
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation
Candlesticks
Ceramics
F.S. Lincoln
Firedogs
Fireplaces
Governor's Palace
Hand-Tooled Leather Wall Coverings
Historic Buildings
Looking Glasses
Mantels
Marble
Mirrors
Public Buildings
Upper Middle Room
Virginia
Williamsburg
-
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3036f2c2d7d8aa76c7a233ebbb857bf1
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
966
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
F.S. Lincoln Photography Collection
Description
An account of the resource
The FS Lincoln Collection
Biographical Sketch
Mr. Fay S. Lincoln (known professionally as F.S. Lincoln) operated a photography studio in New York City from the 1930s until the mid 1960s. He was born in Keene, New Hampshire in 1894 and attended the Massachusetts Institute of Technology. Although he received training as an engineer, Mr. Lincoln chose to become a professional photographer in 1929, when he opened the firm of Nyholm & Lincoln in conjunction with another photographer, Peter Nyholm, in New York City. A few years later, he opened his own studio at 114 East 32nd St.1
In 1932, Lincoln began corresponding with Kenneth Chorley, President of the Colonial Williamsburg Foundation, about the possibility of contracting with the Foundation to photograph the completed restoration work at Williamsburg. Lincoln had learned that John D. Rockefeller, Jr. was looking for someone to create a master collection of photos of Williamsburg through Arthur S. Vernay, an acquaintance of Abby Aldrich Rockefeller. In his correspondence, Lincoln noted he had completed photographic assignments for many of the top architects and designers in New York, including Arthur S. Vernay, Joseph Urban, James Gamble Rogers, Voorhees, Gmelin & Walker, McKim, Mead, & White, Robert Locher, and Eugene Schoen. He also pointed out that he had sold architectural photos to many prominent magazines, including "Architectural Record," "National Geographic," "Country Life," "Architectural Forum," and "Spur."2
Lincoln's credentials, along with sample photographs and recommendations from magazine editors, enabled him to secure a contract with Colonial Williamsburg on April 22, 1935. According to the terms of the contract, Lincoln was hired to prepare a master collection of photographs and negatives that Colonial Williamsburg could sell to tourists and residents of Williamsburg, as well as use for promotional purposes. Lincoln retained the right to sell copies of his photographs at his New York studio, provided he consulted with the Foundation regarding the proposed use of the photographs. He also retained title to all negatives and copyright for all photos until the termination of his business. Plans for a traveling exhibition of Lincoln's photographs of Williamsburg were also mentioned in the contract.3
During 1935, F.S. Lincoln traveled to Williamsburg at seasonal intervals to photograph views requested by the Foundation. A panel of Colonial Williamsburg employees reviewed each series of photos and selected a group to be added to the master collection. F.S. Lincoln photos illustrated two portfolios about Colonial Williamsburg published in the "Architectural Record" in December 1935 and November 1936. Full-page black and white photos of restored buildings and gardens accompanied articles on the restoration written by Kenneth Chorley, Fiske Kimball, William G. Perry, and Arthur Shurcliff. Thus, Lincoln's photos gave the American public their first introduction to the completed restoration.
Lincoln had also been hired by Colonial Williamsburg to create a group of photographs of Williamsburg that could be exhibited. Correspondence between staff members indicates that John D. Rockefeller, Jr. hoped to mount a traveling exhibit of Williamsburg photographs. An exhibit of a selection of Lincoln's views of Williamsburg, along with photos he took for "Harper's Bazaar," "House and Garden," "House Beautiful," "Vanity Fair," "National Geographic," and "Town and Country," was held at the Rabinovitch Gallery in New York City from October 4-17, 1935.
Although Foundation employees were satisfied with the quality of Lincoln's photographs, they were dismayed by the cost of individual prints and enlargements. Memos exchanged between members of the marketing staff indicate that employees were having a hard time convincing distributors to purchase enlargements of the Lincoln photos for display in shop windows. As a result, the Foundation's agreement with F.S. Lincoln was terminated on April 21, 1936.4
Despite this setback, F.S. Lincoln secured contracts for many other architectural photography projects in the 1930s. He received numerous commissions to photograph buildings in New York City and also traveled abroad on several assignments. In 1934, he completed a portfolio of photos of Mont St. Michel and in 1938 he toured the deep South and photographed examples of antebellum architecture. Lincoln's photos were widely published in the 1930s and 1940s in such magazines as "Architectural Record," "House Beautiful," "National Geographic," "Country Life," and "Architectural Forum." In addition, he published a book of his photographs in 1946 entitled "Charleston: Photographic Studies by F.S. Lincoln."5
F.S. Lincoln continued to operate a photography studio in New York City until 1965, when he retired and moved to Center Hall, Pennsylvania to live with his sister. He forwarded all of his negatives of Williamsburg buildings to the Foundation in 1972, along with a letter stating that “the copyright of the photographs has run out, so you are free to use them as desired.”6 Upon his death in 1976, the remainder of Lincoln's archive of prints and negatives, as well as some business papers, were donated to the Pennsylvania State University Archives.
Scope and Contents
The F.S. Lincoln collection consists of black and white negatives and prints taken by Mr. Lincoln in preparation for the publication of "The Restoration of Colonial Williamsburg in Virginia," a series of articles appearing in the December 1935 and November 1936 issues of "The Architectural Record." Both issues featured a portfolio of buildings and gardens in the newly restored historic area of Williamsburg.
In order to produce a large pool of photos for use in these portfolios, Mr. Lincoln created comprehensive visual documentation of the work completed during the initial phases of the restoration (1927-1935.) He photographed the exteriors and interiors of thirty restored buildings, including the exhibition buildings open to the public, such as the Governor's Palace, the Capitol, Raleigh Tavern, Bruton Parish Church, the Wren Building, and the Powder Magazine. In addition, he captured exterior views of some of the shops open on Merchant's Square and restored buildings adapted for public use, such as the Public Library. He also photographed many of the gardens and garden ornaments throughout the restored area.
The collection is organized into series by format. Series included in the collection are negatives; bound matted and signed prints; unbound matted and signed prints; and small albums. Within each format, items are organized according to the numbering system assigned by Mr. Lincoln. The first three digits of numbers assigned to the images correspond to a particular building or subject category. For example, all images of the Capitol have numbers beginning with 325 and all miscellaneous views have numbers beginning with 365. After these first three digits, Lincoln added a P for print and then a successive number for each view. For example, the first view of the Capitol is number 325P1. An “LC” prefix has been added to all image numbers by the Colonial Williamsburg Foundation to identify the images as coming from the Lincoln Collection.
Endnotes
1 Champagne, Anne, “Fay S. Lincoln Collection,” History of Photography 17, (Spring 1993): 127-128.
2 F.S. Lincoln to B.W. Norton, October 18, 1933. Colonial Williamsburg Foundation Archives.
3 Agreement dated April 22, 1935 between Colonial Williamsburg, Inc. and F.S. Lincoln, Colonial Williamsburg Foundation Archives.
4 Mr. Norton to Mr. Darling, February 22, 1937; Kenneth Chorley to F.S. Lincoln, April 6, 1937, Colonial Williamsburg Foundation Archives.
5 Champagne, Anne, “Fay S. Lincoln Collection,” History of Photography 17 (Spring 1993): 128.
6 F.S. Lincoln to James R. Short, May 15, 1972, Colonial Williamsburg Foundation Archives.
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
Gelatin or collodian printing out paper with platinum toning, mounted on board
Physical Dimensions
The actual physical size of the original image.
8x10 inches
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Governor's Palace, Upper Middle Room
Subject
The topic of the resource
Block 20. Building 03.
Governor’s Palace (Williamsburg, Va.)
Historic buildings -- Virginia -- Williamsburg
Public buildings -- Virginia -- Williamsburg
Furniture -- Virginia -- Williamsburg
Description
An account of the resource
<p>Interior of the Upper Middle Room in the Governor's Palace, 1935. Among other furnishings, a beautiful <strong><a href="http://emuseum.history.org/view/objects/asitem/items$0040:49519#.UxeFvHtU8Hs.gmail">desk (accession # 1930-210)</a></strong>, made of mahogany, white pine, and ash, stands against the wall to the left.The room's former hand-tooled leather wall coverings are also visible on the walls, though they have now been removed due to deterioration.</p>
<p>Interior furnishings and decor reflect curators' views in the 1930s as to how Williamsburg's historic interiors may have looked in the eighteenth century. Nevertheless, with new research advancements over the years, the interior furnishings of the Governor’s Palace have changed to reflect a more authentic and accurate view of the building’s likely contents and room arrangements.</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
LC327P58
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation
Books
Candlesticks
Ceramics
Chandeliers
Desks
F.S. Lincoln
Firedogs
Fireplaces
Governor's Palace
Hand-Tooled Leather Wall Coverings
Historic Buildings
Looking Glasses
Mantels
Marble
Mirrors
Public Buildings
Side Chairs
Upper Middle Room
Virginia
Williamsburg
-
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Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
Bit Depth
8
Channels
1
Height
768
Width
603
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
F.S. Lincoln Photography Collection
Description
An account of the resource
The FS Lincoln Collection
Biographical Sketch
Mr. Fay S. Lincoln (known professionally as F.S. Lincoln) operated a photography studio in New York City from the 1930s until the mid 1960s. He was born in Keene, New Hampshire in 1894 and attended the Massachusetts Institute of Technology. Although he received training as an engineer, Mr. Lincoln chose to become a professional photographer in 1929, when he opened the firm of Nyholm & Lincoln in conjunction with another photographer, Peter Nyholm, in New York City. A few years later, he opened his own studio at 114 East 32nd St.1
In 1932, Lincoln began corresponding with Kenneth Chorley, President of the Colonial Williamsburg Foundation, about the possibility of contracting with the Foundation to photograph the completed restoration work at Williamsburg. Lincoln had learned that John D. Rockefeller, Jr. was looking for someone to create a master collection of photos of Williamsburg through Arthur S. Vernay, an acquaintance of Abby Aldrich Rockefeller. In his correspondence, Lincoln noted he had completed photographic assignments for many of the top architects and designers in New York, including Arthur S. Vernay, Joseph Urban, James Gamble Rogers, Voorhees, Gmelin & Walker, McKim, Mead, & White, Robert Locher, and Eugene Schoen. He also pointed out that he had sold architectural photos to many prominent magazines, including "Architectural Record," "National Geographic," "Country Life," "Architectural Forum," and "Spur."2
Lincoln's credentials, along with sample photographs and recommendations from magazine editors, enabled him to secure a contract with Colonial Williamsburg on April 22, 1935. According to the terms of the contract, Lincoln was hired to prepare a master collection of photographs and negatives that Colonial Williamsburg could sell to tourists and residents of Williamsburg, as well as use for promotional purposes. Lincoln retained the right to sell copies of his photographs at his New York studio, provided he consulted with the Foundation regarding the proposed use of the photographs. He also retained title to all negatives and copyright for all photos until the termination of his business. Plans for a traveling exhibition of Lincoln's photographs of Williamsburg were also mentioned in the contract.3
During 1935, F.S. Lincoln traveled to Williamsburg at seasonal intervals to photograph views requested by the Foundation. A panel of Colonial Williamsburg employees reviewed each series of photos and selected a group to be added to the master collection. F.S. Lincoln photos illustrated two portfolios about Colonial Williamsburg published in the "Architectural Record" in December 1935 and November 1936. Full-page black and white photos of restored buildings and gardens accompanied articles on the restoration written by Kenneth Chorley, Fiske Kimball, William G. Perry, and Arthur Shurcliff. Thus, Lincoln's photos gave the American public their first introduction to the completed restoration.
Lincoln had also been hired by Colonial Williamsburg to create a group of photographs of Williamsburg that could be exhibited. Correspondence between staff members indicates that John D. Rockefeller, Jr. hoped to mount a traveling exhibit of Williamsburg photographs. An exhibit of a selection of Lincoln's views of Williamsburg, along with photos he took for "Harper's Bazaar," "House and Garden," "House Beautiful," "Vanity Fair," "National Geographic," and "Town and Country," was held at the Rabinovitch Gallery in New York City from October 4-17, 1935.
Although Foundation employees were satisfied with the quality of Lincoln's photographs, they were dismayed by the cost of individual prints and enlargements. Memos exchanged between members of the marketing staff indicate that employees were having a hard time convincing distributors to purchase enlargements of the Lincoln photos for display in shop windows. As a result, the Foundation's agreement with F.S. Lincoln was terminated on April 21, 1936.4
Despite this setback, F.S. Lincoln secured contracts for many other architectural photography projects in the 1930s. He received numerous commissions to photograph buildings in New York City and also traveled abroad on several assignments. In 1934, he completed a portfolio of photos of Mont St. Michel and in 1938 he toured the deep South and photographed examples of antebellum architecture. Lincoln's photos were widely published in the 1930s and 1940s in such magazines as "Architectural Record," "House Beautiful," "National Geographic," "Country Life," and "Architectural Forum." In addition, he published a book of his photographs in 1946 entitled "Charleston: Photographic Studies by F.S. Lincoln."5
F.S. Lincoln continued to operate a photography studio in New York City until 1965, when he retired and moved to Center Hall, Pennsylvania to live with his sister. He forwarded all of his negatives of Williamsburg buildings to the Foundation in 1972, along with a letter stating that “the copyright of the photographs has run out, so you are free to use them as desired.”6 Upon his death in 1976, the remainder of Lincoln's archive of prints and negatives, as well as some business papers, were donated to the Pennsylvania State University Archives.
Scope and Contents
The F.S. Lincoln collection consists of black and white negatives and prints taken by Mr. Lincoln in preparation for the publication of "The Restoration of Colonial Williamsburg in Virginia," a series of articles appearing in the December 1935 and November 1936 issues of "The Architectural Record." Both issues featured a portfolio of buildings and gardens in the newly restored historic area of Williamsburg.
In order to produce a large pool of photos for use in these portfolios, Mr. Lincoln created comprehensive visual documentation of the work completed during the initial phases of the restoration (1927-1935.) He photographed the exteriors and interiors of thirty restored buildings, including the exhibition buildings open to the public, such as the Governor's Palace, the Capitol, Raleigh Tavern, Bruton Parish Church, the Wren Building, and the Powder Magazine. In addition, he captured exterior views of some of the shops open on Merchant's Square and restored buildings adapted for public use, such as the Public Library. He also photographed many of the gardens and garden ornaments throughout the restored area.
The collection is organized into series by format. Series included in the collection are negatives; bound matted and signed prints; unbound matted and signed prints; and small albums. Within each format, items are organized according to the numbering system assigned by Mr. Lincoln. The first three digits of numbers assigned to the images correspond to a particular building or subject category. For example, all images of the Capitol have numbers beginning with 325 and all miscellaneous views have numbers beginning with 365. After these first three digits, Lincoln added a P for print and then a successive number for each view. For example, the first view of the Capitol is number 325P1. An “LC” prefix has been added to all image numbers by the Colonial Williamsburg Foundation to identify the images as coming from the Lincoln Collection.
Endnotes
1 Champagne, Anne, “Fay S. Lincoln Collection,” History of Photography 17, (Spring 1993): 127-128.
2 F.S. Lincoln to B.W. Norton, October 18, 1933. Colonial Williamsburg Foundation Archives.
3 Agreement dated April 22, 1935 between Colonial Williamsburg, Inc. and F.S. Lincoln, Colonial Williamsburg Foundation Archives.
4 Mr. Norton to Mr. Darling, February 22, 1937; Kenneth Chorley to F.S. Lincoln, April 6, 1937, Colonial Williamsburg Foundation Archives.
5 Champagne, Anne, “Fay S. Lincoln Collection,” History of Photography 17 (Spring 1993): 128.
6 F.S. Lincoln to James R. Short, May 15, 1972, Colonial Williamsburg Foundation Archives.
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
Gelatin or collodian printing out paper with platinum toning, mounted on board
Physical Dimensions
The actual physical size of the original image.
8x10 inches
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Governor's Palace, Detail of Mantel in Bedroom
Subject
The topic of the resource
Block 20. Building 03.
Governor’s Palace (Williamsburg, Va.)
Historic buildings -- Virginia -- Williamsburg
Public buildings -- Virginia -- Williamsburg
Description
An account of the resource
Interior detail of the mantel in the Governor's Bedroom of the Governor's Palace, 1935. The mantelpiece surrounding the fireplace exhibits richly carved neo-classical ornamentation. Beautiful details characterize each fireplace within the meticulously reconstructed Governor's Palace, which opened as an exhibition building in April 1934. This close-up view of the ornate carving and marble facing on the fireplace in the governor's bedroom offers a glimpse into the lavish architectural elements of the royal residence.
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
LC327P57
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation
F.S. Lincoln
Fireplaces
Governor's Bedroom
Governor's Palace
Historic Buildings
Mantels
Marble
Public Buildings
Rosettes
Virginia
Williamsburg
-
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2561fec41a6f40428a26f5ea6274c953
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
611
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
F.S. Lincoln Photography Collection
Description
An account of the resource
The FS Lincoln Collection
Biographical Sketch
Mr. Fay S. Lincoln (known professionally as F.S. Lincoln) operated a photography studio in New York City from the 1930s until the mid 1960s. He was born in Keene, New Hampshire in 1894 and attended the Massachusetts Institute of Technology. Although he received training as an engineer, Mr. Lincoln chose to become a professional photographer in 1929, when he opened the firm of Nyholm & Lincoln in conjunction with another photographer, Peter Nyholm, in New York City. A few years later, he opened his own studio at 114 East 32nd St.1
In 1932, Lincoln began corresponding with Kenneth Chorley, President of the Colonial Williamsburg Foundation, about the possibility of contracting with the Foundation to photograph the completed restoration work at Williamsburg. Lincoln had learned that John D. Rockefeller, Jr. was looking for someone to create a master collection of photos of Williamsburg through Arthur S. Vernay, an acquaintance of Abby Aldrich Rockefeller. In his correspondence, Lincoln noted he had completed photographic assignments for many of the top architects and designers in New York, including Arthur S. Vernay, Joseph Urban, James Gamble Rogers, Voorhees, Gmelin & Walker, McKim, Mead, & White, Robert Locher, and Eugene Schoen. He also pointed out that he had sold architectural photos to many prominent magazines, including "Architectural Record," "National Geographic," "Country Life," "Architectural Forum," and "Spur."2
Lincoln's credentials, along with sample photographs and recommendations from magazine editors, enabled him to secure a contract with Colonial Williamsburg on April 22, 1935. According to the terms of the contract, Lincoln was hired to prepare a master collection of photographs and negatives that Colonial Williamsburg could sell to tourists and residents of Williamsburg, as well as use for promotional purposes. Lincoln retained the right to sell copies of his photographs at his New York studio, provided he consulted with the Foundation regarding the proposed use of the photographs. He also retained title to all negatives and copyright for all photos until the termination of his business. Plans for a traveling exhibition of Lincoln's photographs of Williamsburg were also mentioned in the contract.3
During 1935, F.S. Lincoln traveled to Williamsburg at seasonal intervals to photograph views requested by the Foundation. A panel of Colonial Williamsburg employees reviewed each series of photos and selected a group to be added to the master collection. F.S. Lincoln photos illustrated two portfolios about Colonial Williamsburg published in the "Architectural Record" in December 1935 and November 1936. Full-page black and white photos of restored buildings and gardens accompanied articles on the restoration written by Kenneth Chorley, Fiske Kimball, William G. Perry, and Arthur Shurcliff. Thus, Lincoln's photos gave the American public their first introduction to the completed restoration.
Lincoln had also been hired by Colonial Williamsburg to create a group of photographs of Williamsburg that could be exhibited. Correspondence between staff members indicates that John D. Rockefeller, Jr. hoped to mount a traveling exhibit of Williamsburg photographs. An exhibit of a selection of Lincoln's views of Williamsburg, along with photos he took for "Harper's Bazaar," "House and Garden," "House Beautiful," "Vanity Fair," "National Geographic," and "Town and Country," was held at the Rabinovitch Gallery in New York City from October 4-17, 1935.
Although Foundation employees were satisfied with the quality of Lincoln's photographs, they were dismayed by the cost of individual prints and enlargements. Memos exchanged between members of the marketing staff indicate that employees were having a hard time convincing distributors to purchase enlargements of the Lincoln photos for display in shop windows. As a result, the Foundation's agreement with F.S. Lincoln was terminated on April 21, 1936.4
Despite this setback, F.S. Lincoln secured contracts for many other architectural photography projects in the 1930s. He received numerous commissions to photograph buildings in New York City and also traveled abroad on several assignments. In 1934, he completed a portfolio of photos of Mont St. Michel and in 1938 he toured the deep South and photographed examples of antebellum architecture. Lincoln's photos were widely published in the 1930s and 1940s in such magazines as "Architectural Record," "House Beautiful," "National Geographic," "Country Life," and "Architectural Forum." In addition, he published a book of his photographs in 1946 entitled "Charleston: Photographic Studies by F.S. Lincoln."5
F.S. Lincoln continued to operate a photography studio in New York City until 1965, when he retired and moved to Center Hall, Pennsylvania to live with his sister. He forwarded all of his negatives of Williamsburg buildings to the Foundation in 1972, along with a letter stating that “the copyright of the photographs has run out, so you are free to use them as desired.”6 Upon his death in 1976, the remainder of Lincoln's archive of prints and negatives, as well as some business papers, were donated to the Pennsylvania State University Archives.
Scope and Contents
The F.S. Lincoln collection consists of black and white negatives and prints taken by Mr. Lincoln in preparation for the publication of "The Restoration of Colonial Williamsburg in Virginia," a series of articles appearing in the December 1935 and November 1936 issues of "The Architectural Record." Both issues featured a portfolio of buildings and gardens in the newly restored historic area of Williamsburg.
In order to produce a large pool of photos for use in these portfolios, Mr. Lincoln created comprehensive visual documentation of the work completed during the initial phases of the restoration (1927-1935.) He photographed the exteriors and interiors of thirty restored buildings, including the exhibition buildings open to the public, such as the Governor's Palace, the Capitol, Raleigh Tavern, Bruton Parish Church, the Wren Building, and the Powder Magazine. In addition, he captured exterior views of some of the shops open on Merchant's Square and restored buildings adapted for public use, such as the Public Library. He also photographed many of the gardens and garden ornaments throughout the restored area.
The collection is organized into series by format. Series included in the collection are negatives; bound matted and signed prints; unbound matted and signed prints; and small albums. Within each format, items are organized according to the numbering system assigned by Mr. Lincoln. The first three digits of numbers assigned to the images correspond to a particular building or subject category. For example, all images of the Capitol have numbers beginning with 325 and all miscellaneous views have numbers beginning with 365. After these first three digits, Lincoln added a P for print and then a successive number for each view. For example, the first view of the Capitol is number 325P1. An “LC” prefix has been added to all image numbers by the Colonial Williamsburg Foundation to identify the images as coming from the Lincoln Collection.
Endnotes
1 Champagne, Anne, “Fay S. Lincoln Collection,” History of Photography 17, (Spring 1993): 127-128.
2 F.S. Lincoln to B.W. Norton, October 18, 1933. Colonial Williamsburg Foundation Archives.
3 Agreement dated April 22, 1935 between Colonial Williamsburg, Inc. and F.S. Lincoln, Colonial Williamsburg Foundation Archives.
4 Mr. Norton to Mr. Darling, February 22, 1937; Kenneth Chorley to F.S. Lincoln, April 6, 1937, Colonial Williamsburg Foundation Archives.
5 Champagne, Anne, “Fay S. Lincoln Collection,” History of Photography 17 (Spring 1993): 128.
6 F.S. Lincoln to James R. Short, May 15, 1972, Colonial Williamsburg Foundation Archives.
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
Gelatin or collodian printing out paper with platinum toning, mounted on board
Physical Dimensions
The actual physical size of the original image.
8x10 inches
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Governor's Palace, Detail of Fireplace and Entrance Hall
Subject
The topic of the resource
Block 20. Building 03.
Governor’s Palace (Williamsburg, Va.)
Historic buildings -- Virginia -- Williamsburg
Public buildings -- Virginia -- Williamsburg
Furniture -- Virginia -- Williamsburg
Description
An account of the resource
<p>Interior of Governor's Palace, detail of the fireplace in the main entrance hall, 1935. Richly carved wooden wall paneling, marble floor tiling, and a marble mantelpiece exhibit the wealth and power of the royal governor, who served as the Crown's official representative in Virginia. An ornate wooden carving of the royal coat of arms is affixed to the wall above the fireplace and "...represented the authority by which the governor ruled." Furthermore, "the hall at the Palace served as a screening area where visitors wishing to see the governor were 'sorted out.'"</p>
<p>(Source: The Colonial Williamsburg Foundation, <em>Official Guide to Colonial Williamsburg</em> [Williamsburg, Virginia: The Colonial Williamsburg Foundation, 1998], pg. 85).</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
LC327P48
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation
Armchairs
Chair Rails
Dentils
Entrance Hall
F.S. Lincoln
Firebacks
Fireplaces
Governor's Palace
Historic Buildings
Mantels
Marble
Public Buildings
Royal Coats of Arms
Tiles
Virginia
Volutes
Wainscotting
Williamsburg