2 20 28 https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/10e45d18494641be032815a2a3e0398f.jpg?Expires=1776902400&Signature=RJvMRR3Cmed7wxoB6PpgdRqjjLQZc%7EC5ZjdyJvziR1gra9T%7EtyX-Qr%7ELmLu-R1S4FudQ7YZRtMg2r8N%7EnifYPdQKi662LrX4wrSXdqqi86GupStW5jn8YVSfk2A4OnrY0tf8AVh0nDrpgAis6-nm9kuDeyJE2KKLEekQvQrydbVlVk3GBS8YqiuP5uosdMu6B17Tnid8BTAAEaVi3pT0bezPLB0oPuplmttqF23o4YyWzAoLw7-eDhCKPqnPxn7JtIRmtzJ2LNKxsO4gb2A-BvScEIoPjW4NjuSqMT9F9LbXL3hjivg53i3FLgI10UgtZajqzxt31wPERStwSph0vw__&Key-Pair-Id=K6UGZS9ZTDSZM 9da6e0badc4f4b7220c37466d8859477 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 Highlights of the Susan Higginson Nash Photograph Collection Subject The topic of the resource Nash, Susan Higginson Williamsburg (Va.)--History Architecture, Colonial - Virginia Documentary photography - Virginia Architectural photographs - 1930-1940 Creator An entity primarily responsible for making the resource Nash, Susan Higginson Rights Holder A person or organization owning or managing rights over the resource. Special Collections, John D. Rockefeller Jr. Library, The Colonial Williamsburg Foundation Description An account of the resource Susan Higginson Nash was born in Brookline, Massachusetts on August 8, 1893 and died in Boston on July 25, 1971. She served as a consultant on antiques and interior decoration in association with the Boston architectural firm of Perry, Shaw, & Hepburn, chosen to carry out the early work on Williamsburg's restoration. Later a member of the American Institute of Decorators, she was a friend of architect William G. Perry with whom she first visited Williamsburg in 1923. During field trips to Virginia sites, she met the popular Richmond novelist Ellen Glasgow, who advised her: "If you do any work at Williamsburg, make it perceptible." Mrs. Nash felt this was a wonderful phrase and quoted it often, evidently taking it to mean that the work should be subtly and sympathetically done. Most of the photos in the Susan Higginson Nash Photograph Collection date to the early 1930s, when steps to be taken in the physical restoration of the colonial capital were still under study. Sites include many of the important extant eighteenth-century houses in the Tidewater region of Virginia, such as Shirley, Westover, Mt. Airy, Sabine Hall and Marmion. Excursions to such sites were made to help in determining proper precedents for the work to be carried out in Williamsburg's Historic Area. Date A point or period of time associated with an event in the lifecycle of the resource Early 1930s Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Gelatin silver print Physical Dimensions The actual physical size of the original image. 3.25 x 4.25 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 Margaret Hunter Shop Under Restoration Subject The topic of the resource Nash, Susan Higginson Margaret Hunter Shop (Williamsburg, Va.) Block 17. Building 09. Historic buildings - Virginia - Williamsburg Description An account of the resource Margaret Hunter Shop under restoration, 405 E. Duke of Gloucester St., Williamsburg, Virginia, circa 1930s. Creator An entity primarily responsible for making the resource Nash, Susan Higginson Date A point or period of time associated with an event in the lifecycle of the resource Circa 1930's Date Created Date of creation of the resource. Circa 1930's Is Part Of A related resource in which the described resource is physically or logically included. Susan Higginson Nash Photograph Collection, AV2009.35, Box 1, Album 4 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 Na1729 Rights Holder A person or organization owning or managing rights over the resource. Special Collections, John B. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation Extent The size or duration of the resource. 1 photograph Construction Progress Margaret Hunter Shop Millinery Shop Susan Higginson Nash Virginia Williamsburg https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/43fac759c9687b6744ab36a1d8eb2b04.jpg?Expires=1776902400&Signature=nIO6sdAvgcYGr1-5TvlPuXKCzSd8MXwYRKFLuo0zDs8KEketZS-eTGzxYjOgsoh2saRlMUB4xGZTTqDjbsIEHQW2eZrf5GdDq6FIbSmzW1h9YQ4amPk11pmdSYACF5Iybwmi785R8Y8Qr-ayZyHhAqWw%7Er1MIwzL4wq16wn-YNsyoFQvN29xHd2aw4JwcLGmxfnBdKVE4SnJ3y%7Eo7GrMKucPnh5N3Cf7T5RQwdpBkrR992T88Rh-ivn52%7Ev8d2AfmtFE1LLHHH-HuL-hc0AWDst8Tou1cQvr3DMGj2ajT%7EocHaa4ZNXlxsvDIE%7EA9f7LlrJYK7gkMEHApaD4IR-AoQ__&Key-Pair-Id=K6UGZS9ZTDSZM 7a6400a801d0e4249df4c23b7f3cc29d 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/. 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 1 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-51 Rights Holder A person or organization owning or managing rights over the resource. Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation Title A name given to the resource Kinnamon Store Subject The topic of the resource Margaret Hunter Shop (Williamsburg, Va.) Block 17. Building 09. Kinnamon Store (Williamsburg, Va.) Service stations - Virginia - Williamsburg Lantern Slides - Hand-colored - 1930-1940 Description An account of the resource Pre-restoration view of the Margaret Hunter Shop when operated as a service station known as Kinnamon's Store. During the nineteenth-century, the colonial gable end store transformed into a two story structure when a second floor enlargement was built. Additional renovations converted it into a automotive service station in the 1920s. Careful archaeological and architectural investigations led to the shop's restoration in 1930 and further modifications brought it back to its full eighteenth-century appearance in 1951. Advertisements Garages Gas stations Glass Transparencies Kinnamon Store Lantern Slides Margaret Hunter Shop Peter Hornbeck Pre-Restoration Service Stations Signs Virginia Williamsburg https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/eab4df2965a2d42c0d2181c2d5be56a7.jpg?Expires=1776902400&Signature=PF7blSkeU-7e6CIBaq5WPmGbz6Y5-OVOHcBaZa2kiSPSiP0I9YxVoU5PWHSOoLsQnkaSPqnx1fQdpsYaBlUoJkNCOLmd07kL1r86YyXK119YbaGIWNMTrp8grMZGLKvSyln4rsXMtjkrNH5-u0nbpNelrXWkAqL1fjFlzX8S21XDZi-TYiFJA4sYrz0sws7plTPuINFPmWvPQaUZiTPbW1mXjETdBB6xEl%7EoAth9ClJi7evEXgzNo3AAO7PXgbBrw8GDMPnQgM2ebdYPknJaxUlesCBhsrAAQXNCkG1jXYBhC6lFIa9Dj13i%7ErIvHAXM5dVeD1dC-8jZhZXrL-7SvA__&Key-Pair-Id=K6UGZS9ZTDSZM 58a60f0d2defe4bb655ef8bbb9748c02 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 Highlights of the Albert Durant Photography Collection Description An account of the resource The Albert Durant Photography Collection encompasses photoprints, negatives, slides, and personal papers that document the photographic production of Williamsburg's first black city-licensed photographer, Albert Durant. Durant's photographic output provides a priceless visual history of African American life in Williamsburg, Virginia and surrounding communities from the late 1930s to the early 1960s. Since the collection encompasses ten thousand images, highlights of some of the major subject categories covered by the photos are presented here. The collection provides a fascinating glimpse into African American social life in Williamsburg during the 1940s and 1950s. Durant captured the atmosphere of local jazz and night clubs through scenes of performers singing and dancing and audiences socializing. Durant also acted as photographer for many African American clubs and organizations. Along with taking formal group portraits, he documented these groups through informal shots of meetings, dinners, and special events. African American student life during segregation is also featured in this visual archive. While a high school student at James City County Training School, Durant began developing his interest in photography by taking images of student activities, including sports, dances, plays, assemblies, and graduations. As an adult, Durant acted as a portrait photographer for Junior-Senior Proms at local black high schools and also documented the sports teams, marching bands, choirs, students, and faculty at Bruton Heights School in Williamsburg. African American spiritual life is another strength of the collection. Durant photographed church groups, such as choirs and missionary circles, as well as individuals participating in rituals at many different black churches in the Williamsburg area. Occupations, working conditions, and business opportunities for African Americans in Williamsburg are recorded in Durant's photos, too. The photos show African Americans working in restaurants, beauty and barber shops, stores, offices, dry cleaners, and gas stations. Albert Wadsworth Durant was born on February 2, 1920 in New York City to Samuel and Bessie Durant. His mother was a native of Williamsburg who moved with her husband to New York and worked as a domestic servant for a family. After the death of her husband, who was originally from the West Indies, Bessie Durant and her children relocated to Williamsburg, Virginia, in 1929. At age 36, Durant married Elsie Lucille Ferguson on August 18, 1956. They raised three sons, Albert W. Durant Jr., Byron Murphy, and Roderick Ferguson, and two daughters, Yvette Durant and Deanna Ferguson. Albert Durant ran his own chauffeuring and limousine business in the Williamsburg area, providing services to many distinguished visitors to the city, including the Queen Mother of England, the Prince of Japan, and various chief justices. He often took his customers on excursions to local historic sites, including Colonial Williamsburg, Jamestown, and the James River plantations. Through course work at the College of William and Mary, Durant acquired a background in American history which enabled him to provide historical commentary as he drove customers through the countryside. Durant's contacts at the College of William and Mary sparked his initial interest in photography and once he had obtained equipment and training, Durant began creating his own historical record of the Williamsburg area. He produced hundreds of portraits documenting the families and activities of African American residents and also documented significant events, places, and persons in and around Williamsburg. In addition, Albert Durant worked to improve conditions for African Americans in Williamsburg by serving in various positions in the city's government. He acted as the first black Justice of the Peace and Bail Commissioner in Williamsburg and served as the first black magistrate of the General District Court from his appointment in 1962 until his retirement in 1975. Albert Durant died at age 71 on April 14, 1991. Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Gelatin silver print Physical Dimensions The actual physical size of the original image. 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 Queen Mother Visiting Colonial Williamsburg's Millinery Shop Subject The topic of the resource African American Photographers Documentary Photography - Virginia - Williamsburg Elizabeth, Queen, consort of George VI, King of Great Britain, 1900-2002 Kings, Queens, Rulers, etc. Visitors, Foreign - United Kingdom Margaret Hunter Shop (Williamsburg, Va.) Rockefeller, Winthrop, 1912-1973 Block 17. Building 09. Description An account of the resource Her Majesty Elizabeth, Queen Mother of Great Britain, in the doorway of the Margaret Hunter Millinery Shop in Colonial Williamsburg. Winthrop Rockefeller is turned towards her as she exits the building. Creator An entity primarily responsible for making the resource Durant, Albert W. Date A point or period of time associated with an event in the lifecycle of the resource 1954-11 Date Created Date of creation of the resource. 1954-11 Is Part Of A related resource in which the described resource is physically or logically included. Albert W Durant Photography Collection, AV-1992.1, Box 9, Folder 12 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 DUR-5590 Rights Holder A person or organization owning or managing rights over the resource. Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation Extent The size or duration of the resource. 1 item Albert Wadsworth Durant Colonial Williamsburg Distinguished Visitors Foreign Visitors Great Britain Margaret Hunter Shop Millinery Shop Queen Mother Queens Virginia Williamsburg Winthrop Rockefeller https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/e9c3904589d03579a4f897d22bea08c3.jpg?Expires=1776902400&Signature=OA44zz0GDVeSP%7E8KoG46C2KqubaaUnC7sMIdHu9Xw7jc0uIg1ZuN0LnM--oMEi8enA1%7Eh8iwLEHPOOcRCE2VlVzQkho8iXYm4sjykwt7LXkw0-1y3hkypdui5zo4dYOg4W9xI7DhtPLbns7tnMlL1NDpuRSWF9T0QR80VoRepOhohUyhO-fmbWo6rxI4AaD5yZE8CQTXAZDZWKlty2VkkO06CANqmGqk%7EJ2Ybjwu7jmyjlbiaeojOh3tssoJCPvAER7U-QhQMFfRS53E6xydUIqhItGGQDPS1O7NyrXeh0lfaPrzvFulbs%7ELF-MaJjKlZT3zNpTFcoBFlgSszNLohA__&Key-Pair-Id=K6UGZS9ZTDSZM 2037a5167f78307c8ae97578168124d2 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 Distinguished Visitors to Colonial Williamsburg Subject The topic of the resource Visitors, Foreign Presidents - United States Celebrities - United States Entertainers - United States Kings, queens, rulers etc. Statesmen Gelatin silver prints Color slides Description An account of the resource Colonial Williamsburg has played host to numerous distinguished visitors in the form of foreign dignitaries and heads of state, royalty, musicians, actors, and writers. A significant series within Colonial Williamsburg's official archive of photos taken by staff photographers, the distinguished visitor images offer a fascinating glimpse into many historic occasions and special events that took place within the living history museum. A selection is offered here to give researchers a sense of the scope of the subjects represented. Government officials, actors, and even sports stars, began arriving at Colonial Williamsburg soon after the museum opened its first exhibition buildings in the 1930s. President Franklin D. Roosevelt dedicated Duke of Gloucester Street in 1934 becoming the first United States president to experience its beauty and historical significance.1 The completion of the Williamsburg Inn and Williamsburg Lodge offered gracious accommodations to attract other well-known guests. Child actress Shirley Temple celebrated her birthday in Williamsburg in 1938, while tennis star Helen Hull Jacobs registered as the first occupant at the Williamsburg Lodge in 1939.2 During World War II, trips to Colonial Williamsburg served as a form of indoctrination for servicemen from neighboring military bases. Troops watched orientation films, attended lectures, and toured the Historic Area as a way to remind them of what they were going overseas to fight for.3 In 1946, British Prime Minister Winston Churchill and General Dwight D. Eisenhower arrived for a post-war visit to Colonial Williamsburg that included drinks at the Raleigh Tavern, a tour of several exhibition buildings, and a special dinner at the Williamsburg Inn.4 The late 1940s marked the beginning of a steady stream of visits by foreign dignitaries. The United States Department of State began a custom of bringing foreign heads of state down from Washington, D.C. as part of their official visits to the United States. As a result, Colonial Williamsburg began expanding its focus to embrace a more international audience and celebrate some of the timeless democratic ideals embodied in the historic events that took place in colonial Virginia.5 The growing living history museum also attracted the attention of Walt Disney, who visited in 1948 and offered his perspectives and ideas on the museum's operations.6 During the 1950s, a standard protocol for VIP visits encompassed trips to Jamestown, Colonial Williamsburg, and Yorktown. Foreign visitors received a rapid overview of American history and ideals as a form of education by State Department officials. 7 Queen Elizabeth II's royal visit for the 250th anniversary of the arrival of settlers at Jamestown marked an important initial step towards strengthening ties between Great Britain and Colonial Williamsburg.8 A succession of British dignitaries, ranging from the Lord Mayor of London to the Prince of Wales, followed. Colonial Williamsburg President Carlisle Humelsine used his former State Department connections to turn Colonial Williamsburg into what many dubbed "State Department South." He oversaw over one hundred visits by foreign dignitaries who came to the area as part of official State Department itineraries. The typical visit during the Humelsine era included a carriage ride, along with stops at major exhibition buildings, such as the Capitol and the Palace, as well as one or two of the trade shops.9 The 1960s and 1970s also witnessed a number of television stars descending upon Colonial Williamsburg with their accompanying production crews. Animal star Lassie performed in several scenes around the Historic Area as part of a larger travel series for his popular television show. Perry Como and John Wayne explored many aspects of Colonial Williamsburg during the filming of Perry Como's Early American Christmas in 1978.10 Visits by foreign heads of state culminated in the 1980s when Ronald Reagan hosted the Ninth Economic Summit of Industrialized Nations at Colonial Williamsburg. The unprecedented closure of the entire Historic Area for the weekend in May 1983 marked a gamble on the part of Colonial Williamsburg officials to generate more international interest via the three thousand journalists covering the event. 11 Participants included Prime Minister Margaret Thatcher of the United Kingdom, Prime Minister Yasuhiro Nakasone of Japan, Prime Minister Amintore Fanfani of Italy, Prime Minister Elliot Trudeau of Canada, Chancellor Helmut Kohl of Germany, and President Francois Mitterand of France. Opera singer Leontyne Price also contributed to the event's pageantry by performing at one of the state dinners.12 In the decades which followed, a combination of actors, entertainers, sports stars, political candidates, and government leaders continued to visit in a steady stream of both official and "undercover" appearances. Two of the more high profile dignitaries included President Zhang Zemin of China in 1997 and a return visit of Queen Elizabeth II in 2007. Whether drawing large crowds or simply enjoying the peaceful charm with a few friends or Colonial Williamsburg escorts, each visitor has left their mark in the form of a fascinating legacy of photos. Endnotes: (1) Donald J. Gonzalez, The Rockefellers at Williamsburg (McLean, Va.: EPM Publications, 1991), 102. (2) Hugh DeSamper, Welcome to the Williamsburg Inn (Williamsburg, Va.: The Colonial Williamsburg Foundation in association with Lickle Publishing, Inc., 1997), 4. (3) Anders Greenspan, Creating Colonial Williamsburg (Washington: Smithsonian Institution Press, 2002), 154. (4) Brian A. Dementi, Churchill & Eisenhower Together Again: A Virginia Visit (Manakin-Sabot, Va.: Dementi Milestone Publishing Inc., 2015), 85. (5) Greenspan, 79. (6) Gonzalez, 110. (7) Greenspan, 117. (8) Greenspan, 111. (9) Gonzalez, 110. (10) Mary Theobald, “Every Man a King: The VIPs Visit Colonial Williamsburg” Colonial Williamsburg Journal 23, No. 3 (Autumn 2001): 40. (11) Greenspan, 153. (12) “The World Comes to Williamsburg,” Colonial Williamsburg 4, No. 1 (Autumn 1983): 20. For further information: <a href="https://research.colonialwilliamsburg.org/Foundation/Journal/Autumn01/vips.cfm">https://research.colonialwilliamsburg.org/Foundation/Journal/Autumn01/vips.cfm</a> Rights Holder A person or organization owning or managing rights over the resource. Special Collections, John D. Rockefeller Jr. Library, The Colonial Williamsburg Foundation Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data 35mm slide Physical Dimensions The actual physical size of the original image. 2x2 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 Kylene Barker and Perry Como Subject The topic of the resource Como, Perry, 1912-2001 Celebrities - American Actors - American Entertainers - American Block 17. Building 8D. The Golden Ball (Williamsburg, Va.) Block 17. Building 09. Margaret Hunter Shop (Williamsburg, Va.) Television specials Description An account of the resource Kylene Barker (Miss America 1979) with Perry Como at the Millinery shop as crew members look on during filming for Como's 1978 Christmas special, "Early American Christmas." Date A point or period of time associated with an event in the lifecycle of the resource 1978 Date Created Date of creation of the resource. 1978 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 1978-341 Rights Holder A person or organization owning or managing rights over the resource. Special Collections, John D. Rockefeller Jr. Library, The Colonial Williamsburg Foundation Actors Celebrities Christmas Christmas Special Distinguished Visitors Duke of Gloucester Street Early American Christmas Kylene Barker Margaret Hunter Shop Miss America Perry Como Television Specials The Golden Ball Virginia Williamsburg https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/a675cb9ef0feaadf526033b79d4ac17d.jpg?Expires=1776902400&Signature=MV7u5WbBNCVsIcSoavEFPRkOvjr3G08qWd6LuH9eEuGg3ey41U%7EB38C5XuCT6uRgOkMhnRj4SedVKwGK7IXRLmtzOAc79ZO5LS7MuVisrYt5CS7KH8q4px7RKgHQaje70tK60gnt2jWFLsFvkRFN5Cqgj0MpBi1dC1Rk5xoG%7ELVmIrTqljTobM3lgx5sAqnKQL48C8YtorLRXLyhSH7AlCljcCJgmrmGYYjV6AzzPX2A2SQaMG-usjx%7Ehrypk9Wt1Ea04lb4jhB-ogb1CytJZPJ-aYNST1b9cN2dyVIqBb1dYakJpNGpvfsfUxALoO3d7Re47gPVaua4t4XXAIye7Q__&Key-Pair-Id=K6UGZS9ZTDSZM 76c472e31f3a7db7e6e6f81381750f2f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pacific Stereopticon Company Lantern Slides Description An account of the resource Produced by the Pacific Stereopticon Company of Los Angeles, this collection of forty-five lantern slides depicts individuals involved in the restoration of Williamsburg, as well as some of the restored buildings. The slides are a mixture of black and white and color images taken by various photographers in the late 1930s. Many are copies based upon photos taken by contract professionals hired to document the appeal of the architecture and landscapes of Colonial Williamsburg. Several of the black and white slides are derived from photos taken by noted architectural photographer F.S. Lincoln, whose collection is also available for viewing on this site. The lantern slides are significant because they document early efforts to publicize the newly opened museum. California architect Reginald Davis Johnson utilized the set to lecture to students and colleagues about the massive efforts undertaken to bring Williamsburg's historic district back to its 18th-century appearance. Noted for his contributions to the development of the Spanish-Southern California architecture of Santa Barbara, Reginald Davis Johnson resided in Pasadena and operated an architectural design studio. Some of his best known projects include the Santa Barbara Biltmore Hotel, the Santa Barbara Post Office, and the Harbor Hills, Rancho San Pedro, and Baldwin Hills communities in Los Angeles. A precursor of 35mm slides, lantern slides are large format positive transparencies, usually 3.25 x 4 inches, sandwiched between two pieces of glass. Many were hand-colored. A projector allowed the slides to be viewed on a wall or screen. Instead of automatically advancing from one slide to the next, the lantern slides had to be manually placed into a slot on the projector. Invented in 1848, lantern slides evolved from those associated with magic lanterns in the late 19th-century to the format represented in this collection. Between 1848-1870, oil lamps served as the light source for magic lantern projectors. By the 1890s, the carbon arc lamp offered a better lighting method. The introduction of electricity in the 20th-century allowed the projection of lantern slides to become common in schools and universities. Lantern slides became obsolete in the 1950s when the Kodachrome three-color process brought about the introduction of 35mm slides. Subject The topic of the resource Pacific Stereopticon Co. Lantern slides - Hand-colored - 1930-1940 Johnson, Reginald Davis, 1882-1952 Creator An entity primarily responsible for making the resource Pacific Stereopticon Co. Date A point or period of time associated with an event in the lifecycle of the resource ca. 1935 Format The file format, physical medium, or dimensions of the resource jpeg Type The nature or genre of the resource Image Rights Holder A person or organization owning or managing rights over the resource. Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Lantern slide Physical Dimensions The actual physical size of the original image. 2 x 3 inches Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sign of the Golden Ball Identifier An unambiguous reference to the resource within a given context PSC-011 Rights Holder A person or organization owning or managing rights over the resource. Special Collections, John D. Rockefeller Jr. Library, The Colonial Williamsburg Foundation Description An account of the resource Lantern slide featuring a photo of the Golden Ball Shop in the early 1930s when it was located in what is today the Margaret Hunter Shop. It is the eleventh slide in a set produced by the Pacific Stereopticon Co. of Los Angeles, California, now defunct, to illustrate the story of Dr. W.A.R. Goodwin's dream to restore a portion of Williamsburg, Virginia to its 18th-century appearance as a shrine to early American ideals. When Colonial Williamsburg first opened as a museum in the 1930s, Duke of Gloucester Street consisted of a combination of exhibition buildings and commercial establishments, and several retail establishments rented space in restored or reconstructed structures. The Golden Ball offered a selection of silver and pewter objects for sale. A neighboring structure, the James Craig House, houses today's Golden Ball, where visitors can watch silversmiths at work. This building, "...an original structure, occupies a favorable spot on the busy 'downtown' end of the main street. Typical of commercial buildings, it has a gable-end facade, and its interior is divided between a large unheated storefront and a smaller counting office with a fireplace in the rear. Like many buildings, this one served as both workplace and home for its occupants." The first occupant (and later owner) of the building was Margaret Hunter, a milliner, who both "...imported and...made diverse and stylish accessories for men, women and children." (Source: Michael Olmert and Suzanne Coffman, Official Guide to Colonial Williamsburg [Williamsburg, VA: The Colonial Williamsburg Foundation, 2007], 57). Publisher An entity responsible for making the resource available Pacific Stereopticon Co. Is Part Of A related resource in which the described resource is physically or logically included. Pacific Stereopticon Company Lantern Slide Collection Format The file format, physical medium, or dimensions of the resource jpeg Type The nature or genre of the resource Image Subject The topic of the resource Golden Ball (Firm) Block 17. Building 09. Historic buildings - Virginia - Williamsburg Margaret Hunter Shop (Williamsburg, Va.) Stores, Retail - Virginia - Williamsburg Brick Pathways Chimneys Dormer Windows Duke of Gloucester Street Fences Gable End Entrances Golden Ball Historic Trades Lantern Slides Margaret Hunter Shop Metalsmiths Pacific Stereopticon Company Pediments Pewterers Porches Retail Stores Shops Signs Silversmiths Virginia Williamsburg https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/b4012f712f1ee11b7ff831f9daf096c9.jpg?Expires=1776902400&Signature=WX-yh7IcYsvih98IhvQHMCka1pgltrBzPElHDiwRUWSWf3lixa3LAcKjTJZF0pSqSPYnEA3Fahs-zN%7ELaIng%7EO6ni7LRIR0es3HEaN6wUKiyTCSkZDLV3WOv-cFAPVlMbUfewRv6XbnXozrnT0DNH52UAv4cyNMnKo1IJuZ8w7%7E6MpjsjJtGCUsaR4wh6U7vheQj2tS6GKY3FY0s6gQMcu82EenzZpNUGvfyCA9-gOkL2mcjVoOEuvyQQNhlFLQgW3rPEJCJY%7Et14%7EePzsYpDrRzgS0J--gI7EpThoe4Lr-4vJWhMO4%7Ea7bKNcnJmtEzIWh0-ZvuoEEornV0-g6-YQ__&Key-Pair-Id=K6UGZS9ZTDSZM b578e0300b1c7628631cd1fd4505b39f 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 246 Width 1024 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Singleton P. Moorehead Streetscapes Description An account of the resource Singleton P. Moorehead (1900 – 1964), was born in Saranac, NY, attended Harvard (BA, 1922; M. Arch, 1927), and was employed in 1928 by the Boston architectural firm of Perry, Shaw and Hepburn. In the same year, he came to Williamsburg as a member of its' architectural field office responsible for the initial restoration work in the historic area. He married Cynthia Beverley Tucker Coleman, a descendant of colonial era Williamsburg resident St. George Tucker. Staying on, Moorehead joined the Colonial Williamsburg Foundation’s architectural office at its creation in 1934, became director of architecture from 1944 – 48, and continued as an architectural consultant until his death. This collection of streetscapes was created by Moorehead for the use of John D. Rockefeller Jr. They were created at a reduced scale so Rockefeller might study recommendations comfortably in his limousine. By comparing the small-scale view with what he saw through car windows, he was able to decide whether to approve funding for the work. The colored dots denote four different kinds of properties. Blue indicates additional work to be done at properties already restored or reconstructed; red signified work proposed for properties owned by the restoration; black indicated work to be done at properties owned by the restoration but subject to life tenure and green indicated work to be performed at future acquisitions. The nine streetscapes in this collection were executed by Moorehead to accompany a February 20, 1939 report entitled: Proposed Ultimate Restoration Work” written by A. Edwin Kendrew, Foundation Architect and head of Colonial Williamsburg’s architectural staff. About these illustrations, Moorehead wrote: “I made some renderings in water color and crayon … And I did elevations of all the streets that occurred in the area where restoration or reconstruction work was or was to be done. Those were mounted on stiff cardboard mats. I think in all there were about eighteen feet of them … Those were passed to Mr. Rockefeller, and he toured the town in his car. He would go up one side of the street and down the other and follow the schedule by circles of color … He didn’t have to stand around with the wind blowing huge blueprints and stuff. He just had these simple little renderings. (They were quite attractive, even if I do say so.) He bought the proposition, and then the fun really started.” 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 Crayon on paper. Physical Dimensions The actual physical size of the original image. 13.3 x 60.5 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 Block 17; Block 8: Duke of Gloucester Street Subject The topic of the resource Block 8 Block 17 Alexander Craig House (Williamsburg, Va.) Capitol (Williamsburg, Va.) Edinburgh Castle (Williamsburg, Va.) Golden Ball (Williamsburg, Va.) John Carter's Store (Williamsburg, Va.) John Crump House (Williamsburg, Va.) Margaret Hunter Shop (Williamsburg, Va.) Pasteur & Galt Shop (Williamsburg, Va.) Prentis House (Williamsburg, Va.) Raleigh Tavern (Williamsburg, Va.) Russell House (Williamsburg, Va.) Secretary's Office (Williamsburg, Va.) Unicorn's Horn (Williamsburg, Va.) Historic buildings -- Virginia -- Williamsburg Description An account of the resource This view looking north along Duke of Gloucester Street at Blocks 17 and 8, shows the Prentis and Russell houses, Craig's Shop (now the <a href="http://research.history.org/DigitalLibrary/View/index.cfm?doc=ResearchReports%5CRR1362.xml">Margaret Hunter Shop</a>), the Golden Ball, Carter's Shop (now the Unicorn's Horn and <a href="http://research.history.org/DigitalLibrary/View/index.cfm?doc=ResearchReports%5CRR1355.xml">John Carter's Store</a>), Raleigh Tavern, Allen's Inn and Ordinary (the Alexander Craig House), <a href="http://research.history.org/DigitalLibrary/View/index.cfm?doc=ResearchReports%5CRR1375.xml">Pasteur & Galt Apothecary Shop</a> Red Lion Inn (the John Crump House), Burdette's Ordinary (now the Edinburgh Castle Tavern), Walthoe's Shop (likely the Armistead House), the Public Records Office (now the Secretary's Office), and the Capitol. Creator An entity primarily responsible for making the resource Singleton P. Moorehead Publisher An entity responsible for making the resource available Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation Rights Information about rights held in and over the resource This material is protected by copyright law (Title 17, U.S. Code). For reproduction queries: <a href="http://research.history.org/JDRLibrary/Visual_Resources/VisualResourcePermission.cfm">Rights and reproductions</a> Is Format Of A related resource that is substantially the same as the described resource, but in another format. Singleton P. Moorehead Streetscapes Format The file format, physical medium, or dimensions of the resource jpeg Language A language of the resource eng Type The nature or genre of the resource Image Identifier An unambiguous reference to the resource within a given context D2010-COPY-0106-1033.jpg Alexander Craig House Capitol Edinburgh Castle Tavern Golden Ball John Carter's Store John Crump House Margaret Hunter Shop Pasteur & Galt Apothecary Shop Prentis House Raleigh Tavern Russell House Secretary's Office Unicorn's Horn https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/426988dd343224d127d087e0f2949286.jpg?Expires=1776902400&Signature=XndQdczZWL2yucLvVW1oIDENyfVh2wGbcHw0vk8aTAFVEb52kPNY%7EotlRbUOekvqFmPL2K1nLXL8ee0QcV3SwiW1ThvdXWeTLoSxVVmcjidu%7EGiM1gHsbDRmbiIapn0GkwF7N2C7LabCPfaw7ZEVA0DsfH-yx1-fA9Phd6u3JLC2AWLtwCsqY0SZ0KqfHbqinM9qGs5zqr%7EVJqQ6VLSU8FRF21T0mbCyvm5qs7EGexlgPKhg0dlaaT8kxu6xyxkDfl%7E26sUNVNra6oYWcQ5-folBJxyczi9YYouI-U3o-OEaVE8bQElRxtUV%7EgF0gj6hfN%7ElIcUzWi1jBz%7ElluyV8w__&Key-Pair-Id=K6UGZS9ZTDSZM db8052f16adafaf36e632b311ca9ce82 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 747 Width 1024 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 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 Margaret Hunter Shop (Pender's Grocery) Subject The topic of the resource Block 17. Building 09. Margaret Hunter Shop (Williamsburg, Va.) Historic buildings -- Virginia -- Williamsburg Description An account of the resource Exterior of the Margaret Hunter Shop, once known as Pender's Grocery, as viewed from Duke of Gloucester Street, 1935. When Colonial Williamsburg first opened as a museum in the 1930s, Duke of Gloucester Street consisted of a combination of exhibition buildings and commercial establishments, and several grocers operated small food markets in restored or reconstructed structures. Pender's Grocery offered a place for town residents and tourists to pick up refreshments. This building, "...an original structure, occupies a favorable spot on the busy 'downtown' end of the main street. Typical of commercial buildings, it has a gable-end facade, and its interior is divided between a large unheated storefront and a smaller counting office with a fireplace in the rear. Like many buildings, this one served as both workplace and home for its occupants." The first occupant (and later owner) of the building was Margaret Hunter, a milliner, who both "...imported and...made diverse and stylish accessories for men, women and children." (Source: Michael Olmert and Suzanne Coffman, Official Guide to Colonial Williamsburg [Williamsburg, VA: The Colonial Williamsburg Foundation, 2007], 57). 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 LC364P5 Rights Holder A person or organization owning or managing rights over the resource. Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation Benches Brickwork Chimneys Dormer Windows Dormers Duke of Gloucester Street Exteriors F.S. Lincoln Fences Historic Buildings Lampposts Margaret Hunter Shop Pender's Grocery Porches Signboards Signs Virginia Weatherboarding Williamsburg https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/238c2054189a7caa54fa63215653533a.jpg?Expires=1776902400&Signature=DOR-vrZlZ9QqbAUlsW%7EqRcRKGuFLta4yA3vwUdTWBQb4onsOUlWqG4CKNzBFLxQPd9g5gMEG8MnY256hWEFTacmDaDv7nuF30PmYwi7cn7JsxRuqlVBP29o8m7NiLQm0DclVcSLQue8yX1wPHImf249kUJQpe8DU%7EvRQYGYH8rlebl7JCWICiO7ivif0PF4VH5Zz3%7Emb5hhMw8e0ohXoCAD2CBc-WCDiYo%7EsU0KHcHxiFQXOdxQyGH2e143aF7ZuQh9MIy8OYcEnaoLvzgcDoQj0xl9APC27GjBve8HgdQ7a8Nr4QmymoP6HhJlUOwgtM6Dy0ZbM1adQLaKS1yHn8w__&Key-Pair-Id=K6UGZS9ZTDSZM 28132c9356b0cb3ac2046f6d73183231 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 Margaret Hunter Shop (Pender's Grocery) Subject The topic of the resource Block 17. Building 09. Margaret Hunter Shop (Williamsburg, Va.) Merchants Square (Williamsburg, Va.) Historic buildings -- Virginia -- Williamsburg Description An account of the resource Exterior of the Margaret Hunter Shop, once known as Pender's Grocery, looking east down Duke of Gloucester Street, 1935. When Colonial Williamsburg first opened as a museum in the 1930s, Duke of Gloucester Street consisted of a combination of exhibition buildings and commercial establishments, and several grocers operated small food markets in restored or reconstructed structures. Pender's Grocery offered a place for town residents and tourists to pick up refreshments. This building, "...an original structure, occupies a favorable spot on the busy 'downtown' end of the main street. Typical of commercial buildings, it has a gable-end facade, and its interior is divided between a large unheated storefront and a smaller counting office with a fireplace in the rear. Like many buildings, this one served as both workplace and home for its occupants." The first occupant (and later owner) of the building was Margaret Hunter, a milliner, who both "...imported and...made diverse and stylish accessories for men, women and children." (Source: Michael Olmert and Suzanne Coffman, Official Guide to Colonial Williamsburg [Williamsburg, VA: The Colonial Williamsburg Foundation, 2007], 57). 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 LC364P6 Rights Holder A person or organization owning or managing rights over the resource. Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation Benches Brickwork Chimneys Dormer Windows Dormers Duke of Gloucester Street Exteriors F.S. Lincoln Fences Historic Buildings Lampposts Margaret Hunter Shop Pender's Grocery Porches Signboards Signs Virginia Weatherboarding Williamsburg