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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/.
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-111
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
Governor's Palace Ballroom, Williamsburg, Virginia
Subject
The topic of the resource
Governor's Palace (Williamsburg, Va,)
Block 20. Building 03.
Lantern slides - Hand-colored - 1930-1940
Public buildings - Virginia - Williamsburg
Historic buildings - Virginia - Williamsburg
Description
An account of the resource
View looking across the Governor's Palace Ballroom towards the door leading into the Supper Room. The pediment exhibits richly carved neo-classical ornamentation and the royal coat of arms of the kingdom of Great Britain.
Armchairs
Ballroom
Candlesticks
Cornices
Dentils
Door Surrounds
Furnishings
Glass Transparencies
Governor's Palace
Lantern Slides
Moldings
Pediments
Peter Hornbeck
Portraits
Side Chairs
Side Tables
Virginia
Volutes
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
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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, Detail of Ballroom and Door
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 a pediment above a door in the Ballroom of the Governor's Palace, 1935. The pediment exhibits richly carved neo-classical ornamentation and the royal coat of arms of the kingdom of Great Britain. Among the room's furnishings, a beautiful <strong><a href="http://emuseum.history.org/view/objects/asitem/items$0040:18697#.UxeTi_-BluA.gmail">harpsichord 2M (accession # 1934-38,A&B)</a></strong>, made of walnut, oak, spruce, holly, ebony, ivory, and other softwoods, is pictured to the right. 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
LC327P67
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
Ballroom
Ballroom Wing
Chandeliers
Cove Ceilings
Dentils
Doors
F.S. Lincoln
Governor's Palace
Harpsichords
Historic Buildings
Moldings
Musical Instruments
Pediments
Public Buildings
Royal Coats of Arms
Sconces
Side Chairs
Virginia
Volutes
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
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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, Detail of Wallpaper in Supper Room
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 Chinese Wallpaper and moldings of the Supper Room in the Governor's Palace, 1935. The moldings exhibit richly carved Chinese and neo-classical ornamentation. A Chinese wallpaper pattern is visible on the walls, though it has since been removed.
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.
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
LC327P64
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation
Ballroom Wing
Chinese Wallpaper
F.S. Lincoln
Fretwork
Governor's Palace
Historic Buildings
Moldings
Public Buildings
Rosettes
Supper 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
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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d2a2d8ae389cc47c16094a51d1f44ddb
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
Andrew Hepburn Pencil Sketches
Subject
The topic of the resource
Hepburn, Andrew, 1880-1967
Architectural drawings - Virginia - Williamsburg
Sketches - Virginia - Williamsburg
Historic buildings - Virginia - Williamsburg
Description
An account of the resource
Biographical Sketch
Andrew Hopewell Hepburn was born in Catasauqua, Pennsylvania on March 6, 1880 to Robert Hopewell Hepburn and Elizabeth Hunt. After attending primary schools in New Jersey and Maryland, he undertook study to prepare for entrance into the Naval Academy at Annapolis but did not receive an appointment. He turned his interests towards architecture and gained admittance to the Massachusetts Institute of Technology, where he graduated with an architectural degree in 1904. While at M.I.T., he met Robert E. Lee Taylor, a native of Norfolk, Virginia and a graduate of the University of Virginia. The two worked as colleagues in the office of Harry Morse in Philadelphia. After marrying Beatrice Outram Sturgis in 1907, Hepburn formed a partnership with Taylor in Norfolk, Virginia, where a building boom was predicted to coincide with the Jamestown Tercentennial. The pair collaborated on such projects as the reconstruction of a hospital in Ghent and the Auslow Gallery Building.
When the predicted building boom in Norfolk did not materialize, Hepburn relocated to New York City to join the office of Herbert Hale. He later transferred to the firm of Henry F. Bigelow in Boston and then moved on to work for Guy Lowell until 1914. With the start of the First World War, Hepburn received an appointment from the U. S. Housing Administration to serve as architect for Seaside Village, a housing community in Bridgeport, Massachusetts. During this project, he met Arthur Shurcliff, who served as the landscape architect and would later join him in Williamsburg, Virginia. The end of the war led him to his next project with Albert Farwell Bemis to design inexpensive, prefabricated houses for workmen. After that he formed a partnership with Thomas Mott Shaw, with whom he worked from 1919-1922, and then the two added a third partner, William Graves Perry, to form the firm of Perry, Shaw & Hepburn. Hepburn helped to prepare and deliver some of the firm’s first concept drawings for the restoration of Williamsburg to show to Dr. W.A.R. Goodwin and Dr. Lyon G. Tyler. He helped lead the effort to develop a master plan for restoring Williamsburg, Virginia to its colonial appearance.
Scope and Content Note
Andrew Hepburn’s pencil sketches, created between 1927 and 1948, are primarily rapid concept drawings he prepared as a member of the architectural team for various projects that were part of Colonial Williamsburg’s restoration. They encompass perspective sketches, bird’s-eye views, plans, elevations, and details relating to such 18th-century buildings as the Governor’s Palace and St. George Tucker House, and modern structures such as the Williamsburg Inn and the Business Block, later known as Merchants Square.
Reconstruction of the Governor's Palace involved educated guesswork on the part of the architects as they examined archaeological and documentary evidence and then tried to fill in the gaps through study of architectural precedents. One of Hepburn's drawings of the front elevation of the Palace reflects how the architectural team thought it might have appeared prior to the discovery of the Bodleian plate, a copperplate found at the Bodleian Library which included a depiction of the Palace complex. Hepburn also finished studies for the Ballroom Wing and the outbuildings and stable complex.
One of Hepburn's major responsibilities involved creating the original concept sketches for structures that would be part of a new business block at the west end of Duke of Gloucester Street. In order to restore Williamsburg to its eighteenth-century appearance, many business, civic, residential and religious buildings along Duke of Gloucester, Francis, and Nicholson streets had to be re-located. The architects suggested concentrating business activity in a new park and shop complex designed to blend harmoniously with the architectural styles of the buildings being restored. The eleven sketches relating to Merchants Square document his evolving ideas for the complex and range from bird's-eye views of blocks of shops to details of multi-bay windows, doorways, and elevations.
Between 1937-1938, Hepburn traveled to Williamsburg every other week to oversee construction progress on the Williamsburg Inn. His involvement with the project is reflected in ten sketches of both exterior and interior architectural features ranging from fireplaces, doors and windows to the proposed bath house, pediments, colonnades, and entrances.
Together, the set of thirty pencil sketches by Hepburn offer insight into the design process for major eighteenth-century and modern structures that are iconic architectural landmarks for Colonial Williamsburg today.
Creator
An entity primarily responsible for making the resource
Hepburn, Andrew
Date
A point or period of time associated with an event in the lifecycle of the resource
Circa 1929-1934
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
Pencil on paper
Physical Dimensions
The actual physical size of the original image.
7 3/4 x 9 1/2 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
Suggestion for Window and Door Treatment, New Parlor
Description
An account of the resource
Pencil concept sketch of a window and door treatment for the new parlor of the Williamsburg Inn, Williamsburg, Virginia.
Creator
An entity primarily responsible for making the resource
Hepburn, Andrew H.
Date
A point or period of time associated with an event in the lifecycle of the resource
19481231
Date Created
Date of creation of the resource.
19481231
Is Part Of
A related resource in which the described resource is physically or logically included.
Andrew Hepburn Pencil Sketches, Drawing #15
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
AHH-015 W
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation
Subject
The topic of the resource
Williamsburg Inn (Williamsburg, Va.)
Block 02. Building 65.
Architectural decoration & ornament - Virginia - Williamsburg
Andrew Hepburn
Cornices
Doors
Moldings
Parlors
Pencil Sketches
Virginia
Williamsburg
Williamsburg Inn
Windows
-
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92bbfdc49be91793b4eb24fcd0898858
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306532002b0e5ecc828f69575e4088e3
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
Selections from the Postcard Collection
Description
An account of the resource
The Postcard Collection housed at the John D. Rockefeller Jr. Library consists of postcards of Williamsburg and surrounding areas dating from the late 19th-century to the present. It includes examples of early postcards of the town prior to its restoration by John D. Rockefeller Jr. In addition, it encompasses many examples of official postcards produced by Colonial Williamsburg for tourists. A smaller number of postcards of neighboring historic sites, such as Jamestown and Yorktown, are also present.
The selections included here are primarily vintage postcards of Colonial Williamsburg and surrounding tourist attractions ranging in date from 1898 to the 1950s. Early cards in the collection illustrate a range of common postcard types and reproduction techniques. The history of the postcard's development as a souvenir, as well as the growth of tourism in Williamsburg, can be traced via Colonial Williamsburg's Postcard Collection.
During what is known as the Pioneer Era from 1870-1898, the first form of postcard, featuring an illustration on one side and an undivided back on the other, did not allow the sender to include a note, unless it was written across a portion of the image on the front. The majority of pioneering postcard formats served as advertisements up until the 1893 Columbia Exposition, when postcards first appeared as souvenirs for Exposition visitors to purchase.
The Private Mailing Card Era from 1898-1901 is characterized by cards printed with the notice "Private Mailing Card Authorized by Act of Congress on May 19, 1898." Backs of the cards remained undivided and purchasers could mail the cards for a cost of one cent. Several examples of postcards from this era are present in the collection. They include some of the earliest instances of souvenir cards created to promote Williamsburg historic sites, such as the Courthouse, Bruton Parish Church, the Powder Magazine, and the Capitol site. European rather than American printers created many of these postcards due to their superb skills. Chromo-lithograph cards of this era exhibit extremely rich colors.
By the time the Jamestown Exposition took place in 1907, postcard production had entered the Divided Back Era, which continued until 1915. Modified postcard backs offered a segment on the left side for senders to pen a brief message. Production of cards gradually shifted to more American printers. The Jamestown Exposition provided a strong impetus for promotion of other historic sites that attendees might also stop at along the way. A series of postcards commemorating Williamsburg area historic sites in conjunction with the 1907 celebration are excellent examples of very early divided back cards.
The Early Modern Era between 1916-1930 led to an increase in production of souvenir cards relating to the Williamsburg area. One type of format popular in this period is the "White Border Card" characterized by a view surrounded with a white border. Real photo cards also began to appear that featured photographs, rather than prints, of local surroundings. In the era before Colonial Williamsburg operated official gift shops, tourists counted on the Cole News Shop as their source for maps, postcards, travel guides, and souvenirs. Mr. Henry Dennison Cole served as the proprietor. His business stood on the site of the present day Taliaferro-Cole Shop. He produced his own postcards of historic sites in the area being restored by the Association for the Preservation of Virginia Antiquities and other groups of preservation minded citizens. Several examples of cards published by the Cole Shop can be found in the collection and offer a glimpse of attractions popular with early 20th-century tourists, such as the old Masonic Hall and Custis Kitchen.
Once Colonial Williamsburg opened a core group of exhibition buildings to the public in the early 1930s, a new era dawned in which the museum began production of official postcards as souvenirs for visitors. Photographs by F.S. Lincoln, an architectural photographer hired on a contract basis in 1935 to take some of the first promotional photos of Colonial Williamsburg exhibition buildings, appeared on a number of real photo postcards issued in the late 1930s. Both examples of postcards bearing his photos, as well as his actual photograph collection, reside at the Rockefeller Library.
The Albertype Company of Brooklyn, New York, produced one of the earliest official postcard series highlighting Colonial Williamsburg exhibition buildings, costumed interpreters, Williamsburg Inn and Lodge, and Merchants Square. In addition to holding numerous examples of Albertype cards, the Rockefeller Library also houses the corresponding photographic prints used to generate the postcards. Albertype cards are characterized by sepia toned images that show exterior and interior views of exhibition buildings, as well as some of the earliest scenes of African Americans in costume demonstrating colonial cooking techniques.
For further information about Williamsburg postcards, please consult:
Preacher, Kristopher J. "Williamsburg in Vintage Postcards." Charleston: Arcadia Publishing, 2002.
Reisweber, Kurt. "Williamsburg in Old Post Cards." Colonial Williamsburg XXI, No.2, (June/July 1999): 52-57.
Subject
The topic of the resource
Postcards - Virginia - Williamsburg
Souvenirs (Keepsakes) - Virginia - Williamsburg - Pictorial works
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
Postcard
Physical Dimensions
The actual physical size of the original image.
3.5 x 5.5 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
Supper Room, Governor's Palace
Subject
The topic of the resource
Governor's Palace (Williamsburg, Va.)
Block 20. Building 03A.
Public buildings - Virginia - Williamsburg
Historic buildings - Virginia - Williamsburg
Description
An account of the resource
Recto and verso of postcard illustrated with a photo of the Supper Room at the Governor's Palace. The Kodachrome image was taken by Walter H. Miller of Miller's Camera Shop in Williamsburg, Virginia.
The caption reads: "Supper Room of the Governor's Palace, Williamsburg, Virginia. Here guests at the many elaborate balls gathered for refreshments. This building has been reconstructed and completely furnished with 18th-century antiques following detailed inventories of the period."
The moldings exhibit richly carved Chinese and neo-classical ornamentation. A Chinese wallpaper pattern is visible on the walls, though it has since been removed.
Interior furnishings and decor reflect curators' views in the 1950s 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.
Creator
An entity primarily responsible for making the resource
Miller's Camera Shop
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. 1950s
Is Part Of
A related resource in which the described resource is physically or logically included.
Postcard Collection
Format
The file format, physical medium, or dimensions of the resource
jpeg
Type
The nature or genre of the resource
Image
Identifier
An unambiguous reference to the resource within a given context
AV-2000-02-60-R
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
Chinese Wallpaper
Dining Tables
Fretwork
Furnishings
Governor's Palace
Miller's Camera Shop
Moldings
Postcards
Rosettes
Side Chairs
Side Tables
Silver
Supper Room
Venetian Blinds
Virginia
Walter H. Miller
Williamsburg
-
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66641a7f0df74a7d1679b26e8a4182aa
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
Andrew Hepburn Pencil Sketches
Subject
The topic of the resource
Hepburn, Andrew, 1880-1967
Architectural drawings - Virginia - Williamsburg
Sketches - Virginia - Williamsburg
Historic buildings - Virginia - Williamsburg
Description
An account of the resource
Biographical Sketch
Andrew Hopewell Hepburn was born in Catasauqua, Pennsylvania on March 6, 1880 to Robert Hopewell Hepburn and Elizabeth Hunt. After attending primary schools in New Jersey and Maryland, he undertook study to prepare for entrance into the Naval Academy at Annapolis but did not receive an appointment. He turned his interests towards architecture and gained admittance to the Massachusetts Institute of Technology, where he graduated with an architectural degree in 1904. While at M.I.T., he met Robert E. Lee Taylor, a native of Norfolk, Virginia and a graduate of the University of Virginia. The two worked as colleagues in the office of Harry Morse in Philadelphia. After marrying Beatrice Outram Sturgis in 1907, Hepburn formed a partnership with Taylor in Norfolk, Virginia, where a building boom was predicted to coincide with the Jamestown Tercentennial. The pair collaborated on such projects as the reconstruction of a hospital in Ghent and the Auslow Gallery Building.
When the predicted building boom in Norfolk did not materialize, Hepburn relocated to New York City to join the office of Herbert Hale. He later transferred to the firm of Henry F. Bigelow in Boston and then moved on to work for Guy Lowell until 1914. With the start of the First World War, Hepburn received an appointment from the U. S. Housing Administration to serve as architect for Seaside Village, a housing community in Bridgeport, Massachusetts. During this project, he met Arthur Shurcliff, who served as the landscape architect and would later join him in Williamsburg, Virginia. The end of the war led him to his next project with Albert Farwell Bemis to design inexpensive, prefabricated houses for workmen. After that he formed a partnership with Thomas Mott Shaw, with whom he worked from 1919-1922, and then the two added a third partner, William Graves Perry, to form the firm of Perry, Shaw & Hepburn. Hepburn helped to prepare and deliver some of the firm’s first concept drawings for the restoration of Williamsburg to show to Dr. W.A.R. Goodwin and Dr. Lyon G. Tyler. He helped lead the effort to develop a master plan for restoring Williamsburg, Virginia to its colonial appearance.
Scope and Content Note
Andrew Hepburn’s pencil sketches, created between 1927 and 1948, are primarily rapid concept drawings he prepared as a member of the architectural team for various projects that were part of Colonial Williamsburg’s restoration. They encompass perspective sketches, bird’s-eye views, plans, elevations, and details relating to such 18th-century buildings as the Governor’s Palace and St. George Tucker House, and modern structures such as the Williamsburg Inn and the Business Block, later known as Merchants Square.
Reconstruction of the Governor's Palace involved educated guesswork on the part of the architects as they examined archaeological and documentary evidence and then tried to fill in the gaps through study of architectural precedents. One of Hepburn's drawings of the front elevation of the Palace reflects how the architectural team thought it might have appeared prior to the discovery of the Bodleian plate, a copperplate found at the Bodleian Library which included a depiction of the Palace complex. Hepburn also finished studies for the Ballroom Wing and the outbuildings and stable complex.
One of Hepburn's major responsibilities involved creating the original concept sketches for structures that would be part of a new business block at the west end of Duke of Gloucester Street. In order to restore Williamsburg to its eighteenth-century appearance, many business, civic, residential and religious buildings along Duke of Gloucester, Francis, and Nicholson streets had to be re-located. The architects suggested concentrating business activity in a new park and shop complex designed to blend harmoniously with the architectural styles of the buildings being restored. The eleven sketches relating to Merchants Square document his evolving ideas for the complex and range from bird's-eye views of blocks of shops to details of multi-bay windows, doorways, and elevations.
Between 1937-1938, Hepburn traveled to Williamsburg every other week to oversee construction progress on the Williamsburg Inn. His involvement with the project is reflected in ten sketches of both exterior and interior architectural features ranging from fireplaces, doors and windows to the proposed bath house, pediments, colonnades, and entrances.
Together, the set of thirty pencil sketches by Hepburn offer insight into the design process for major eighteenth-century and modern structures that are iconic architectural landmarks for Colonial Williamsburg today.
Creator
An entity primarily responsible for making the resource
Hepburn, Andrew
Date
A point or period of time associated with an event in the lifecycle of the resource
Circa 1929-1934
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
Pencil on paper
Physical Dimensions
The actual physical size of the original image.
8 1/2 x 11 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 New Parlor, Williamsburg Inn
Description
An account of the resource
Pencil concept sketch for the new parlor in the Williamsburg Inn, Williamsburg, Virginia.
Creator
An entity primarily responsible for making the resource
Hepburn, Andrew H.
Date
A point or period of time associated with an event in the lifecycle of the resource
19481025
Date Created
Date of creation of the resource.
19481025
Is Part Of
A related resource in which the described resource is physically or logically included.
Andrew Hepburn Pencil Sketches, Drawing #14
Format
The file format, physical medium, or dimensions of the resource
jpeg
Type
The nature or genre of the resource
Image
Identifier
An unambiguous reference to the resource within a given context
AHH-014 W
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation
Subject
The topic of the resource
Williamsburg Inn (Williamsburg, Va.)
Block 02. Building 65.
Hotels - Virginia - Williamsburg
Andrew Hepburn
Cornices
Fireplaces
Moldings
Parlors
Pencil Sketches
Virginia
Williamsburg
Williamsburg Inn
Windows
-
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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
Selections from the Postcard Collection
Description
An account of the resource
The Postcard Collection housed at the John D. Rockefeller Jr. Library consists of postcards of Williamsburg and surrounding areas dating from the late 19th-century to the present. It includes examples of early postcards of the town prior to its restoration by John D. Rockefeller Jr. In addition, it encompasses many examples of official postcards produced by Colonial Williamsburg for tourists. A smaller number of postcards of neighboring historic sites, such as Jamestown and Yorktown, are also present.
The selections included here are primarily vintage postcards of Colonial Williamsburg and surrounding tourist attractions ranging in date from 1898 to the 1950s. Early cards in the collection illustrate a range of common postcard types and reproduction techniques. The history of the postcard's development as a souvenir, as well as the growth of tourism in Williamsburg, can be traced via Colonial Williamsburg's Postcard Collection.
During what is known as the Pioneer Era from 1870-1898, the first form of postcard, featuring an illustration on one side and an undivided back on the other, did not allow the sender to include a note, unless it was written across a portion of the image on the front. The majority of pioneering postcard formats served as advertisements up until the 1893 Columbia Exposition, when postcards first appeared as souvenirs for Exposition visitors to purchase.
The Private Mailing Card Era from 1898-1901 is characterized by cards printed with the notice "Private Mailing Card Authorized by Act of Congress on May 19, 1898." Backs of the cards remained undivided and purchasers could mail the cards for a cost of one cent. Several examples of postcards from this era are present in the collection. They include some of the earliest instances of souvenir cards created to promote Williamsburg historic sites, such as the Courthouse, Bruton Parish Church, the Powder Magazine, and the Capitol site. European rather than American printers created many of these postcards due to their superb skills. Chromo-lithograph cards of this era exhibit extremely rich colors.
By the time the Jamestown Exposition took place in 1907, postcard production had entered the Divided Back Era, which continued until 1915. Modified postcard backs offered a segment on the left side for senders to pen a brief message. Production of cards gradually shifted to more American printers. The Jamestown Exposition provided a strong impetus for promotion of other historic sites that attendees might also stop at along the way. A series of postcards commemorating Williamsburg area historic sites in conjunction with the 1907 celebration are excellent examples of very early divided back cards.
The Early Modern Era between 1916-1930 led to an increase in production of souvenir cards relating to the Williamsburg area. One type of format popular in this period is the "White Border Card" characterized by a view surrounded with a white border. Real photo cards also began to appear that featured photographs, rather than prints, of local surroundings. In the era before Colonial Williamsburg operated official gift shops, tourists counted on the Cole News Shop as their source for maps, postcards, travel guides, and souvenirs. Mr. Henry Dennison Cole served as the proprietor. His business stood on the site of the present day Taliaferro-Cole Shop. He produced his own postcards of historic sites in the area being restored by the Association for the Preservation of Virginia Antiquities and other groups of preservation minded citizens. Several examples of cards published by the Cole Shop can be found in the collection and offer a glimpse of attractions popular with early 20th-century tourists, such as the old Masonic Hall and Custis Kitchen.
Once Colonial Williamsburg opened a core group of exhibition buildings to the public in the early 1930s, a new era dawned in which the museum began production of official postcards as souvenirs for visitors. Photographs by F.S. Lincoln, an architectural photographer hired on a contract basis in 1935 to take some of the first promotional photos of Colonial Williamsburg exhibition buildings, appeared on a number of real photo postcards issued in the late 1930s. Both examples of postcards bearing his photos, as well as his actual photograph collection, reside at the Rockefeller Library.
The Albertype Company of Brooklyn, New York, produced one of the earliest official postcard series highlighting Colonial Williamsburg exhibition buildings, costumed interpreters, Williamsburg Inn and Lodge, and Merchants Square. In addition to holding numerous examples of Albertype cards, the Rockefeller Library also houses the corresponding photographic prints used to generate the postcards. Albertype cards are characterized by sepia toned images that show exterior and interior views of exhibition buildings, as well as some of the earliest scenes of African Americans in costume demonstrating colonial cooking techniques.
For further information about Williamsburg postcards, please consult:
Preacher, Kristopher J. "Williamsburg in Vintage Postcards." Charleston: Arcadia Publishing, 2002.
Reisweber, Kurt. "Williamsburg in Old Post Cards." Colonial Williamsburg XXI, No.2, (June/July 1999): 52-57.
Subject
The topic of the resource
Postcards - Virginia - Williamsburg
Souvenirs (Keepsakes) - Virginia - Williamsburg - Pictorial works
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
Postcard
Physical Dimensions
The actual physical size of the original image.
3.5 x 5.5 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
Upper Middle Room, Governor's Palace
Subject
The topic of the resource
Governor's Palace (Williamsburg, Va.)
Block 20. Building 03A.
Postcards - Virginia - Williamsburg
Public buildings - Virginia - Williamsburg
Historic buildings - Virginia - Williamsburg
Description
An account of the resource
Recto and verso of official Colonial Williamsburg postcard illustrated with a color photo of the Upper Middle Room of the Governor's Palace.
The caption reads: "In the second-floor Palace sitting room, hand-tooled Spanish leather wall covering corresponds to the 'gilt leather hanging' specified in a 1710 'Proposal For rendering the new House convenient as well as Ornamental.'"
Creator
An entity primarily responsible for making the resource
H.S. Crocker Co., Inc.
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. 1950s
Is Part Of
A related resource in which the described resource is physically or logically included.
Postcard Collection
Format
The file format, physical medium, or dimensions of the resource
jpeg
Type
The nature or genre of the resource
Image
Identifier
An unambiguous reference to the resource within a given context
AVPC-050-R
AVPC-050-V
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller Jr. Library, The Colonial Williamsburg Foundation
Bookcases
Candelsticks
Candlestands
Chandeliers
Fireplaces
Governor's Palace
H.S. Crocker Co. Inc.
Leather Wall Coverings
Mirrors
Moldings
Portraits
Postcards
Public Buildings
Side Chairs
Sitting Rooms
Tables
Upper Middle Room
Vases
Virginia
Williamsburg