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                  <text>Special Collections, John D. Rockefeller Jr. Library, The Colonial Williamsburg Foundation</text>
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                  <text>Another collection of photos purchased by the Boston architectural firm of Perry, Shaw &amp; Hepburn in 1930 originated with photographer and town resident Edward A. Beckwith. A letter preserved in Corporate Archives indicates that Mr. Beckwith dropped off a selection of images with Dr. W.A.R. Goodwin who forwarded a list of their subjects to Perry, Shaw &amp; Hepburn for their consideration. Beckwith’s photos date to 1926-1933, a critical period in the town’s transformation. Tremendous changes began to occur in rapid succession as properties were acquired, buildings moved or torn down, foundations unearthed, and the first exhibition building, the Raleigh Tavern, opened in September 1932. While he was never on the architectural team’s payroll, Beckwith’s images attracted interest and became part of the growing archive assembled to aid ongoing restoration work.&#13;
&#13;
Beckwith’s subjects encompass a broader geographic area and feature many examples of colonial homes in the mid-Atlantic region examined by the architects as part of their fieldwork. It is possible he accompanied them on some of their trips and helped to document extant structures. His images of Williamsburg are purely architectural in focus and highlight aspects of surviving colonial architecture under study. They offer a contrast to other pre-restoration photo collections which give glimpses into town life with street vistas, carriages, automobiles, and residents. As the third decade of the twentieth century started in Williamsburg, Beckwith stood poised with his camera to change the focus to the architectural transformations that were soon to take place. Evidence of early steps towards investigating structures and removing nineteenth-century additions and modifications is visible in several of his compositions. His contrasting views of the George Wythe House in 1926 and 1929 document its transition from a dilapidated and deteriorating building to the headquarters for Dr. Goodwin’s office to oversee restoration activities.&#13;
&#13;
The collection encompasses black and white photographs and associated negatives documenting extant colonial era architecture throughout the state of Virginia in the late 1920s. They offered crucial visual references of specific architectural features of interest for the restoration of eighteenth century buildings in Williamsburg’s historic area. Williamsburg, Virginia structures depicted include Carter’s Grove, Barraud House, Bassett Hall, John Blair House, Bracken House, Thomas Everard House, Bruton Parish Church, Nelson-Galt House, Prentis Store, Powell House, The Quarter, Peyton Randolph House, Semple House, Tazewell Hall, Travis House, St. George Tucker House, Benjamin Waller House, and George Wythe House. In addition, many architectural sites elsewhere in Virginia that were visited and examined by the architectural team are represented in the photographs. They include Abingdon Church, Auburn, Belleville, Bonne Elms, Elmwood, Glebe House, Green Plains, Claremont Manor, Four Mile Tree, Hayfield, Jamestown Church, Kinloch, Larabee House,  Little England, Lower Brandon, Mount Airy, Mount Clement, Nelson House, Port Royal, Prospect, Rosegill, Shirley, Smith’s Fort, Upper Brandon, Warner Hall, Westover, and Wilton.&#13;
&#13;
All of the photos are 11 x 14 inch gelatin silver prints on paper. Originally presented in two folios, they clearly demonstrate a more direct intent to create aesthetically pleasing images that could possibly be used in a future architectural publication. &#13;
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                <text>Nelson-Galt House</text>
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            <name>Creator</name>
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                <text>D-16&#13;
see also N4187</text>
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        <name>Chimneys</name>
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        <name>D. N. Davidson</name>
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        <name>Outbuildings</name>
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                  <text>In 1933, the Williamsburg Holding Corporation acquired a set of over one hundred photographs from Newport News photographer D.A. Davidson. Described in a January 3, 1933 letter by Dr. W.A.R. Goodwin as "...the most valuable photographs which we have...," it formed the nucleus of what would later become an extensive photo archive relating to Williamsburg's restoration.  Taken in the Williamsburg, Virginia area, circa 1928, the images offer many pre-restoration views of the town just prior to the commencement of restoration work funded by John D. Rockefeller Jr. Many local businesses, residences, and even streets known to townspeople in the 1920s but demolished or relocated as part of the development of Colonial Williamsburg  in the late 1920s and early 1930s are documented in Davidson's photographs. The collection also provides a visual record of the appearance of many of the surviving eighty-eight public and private buildings dating to the eighteenth-century.</text>
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                  <text>Richard Garrison Photography Collection</text>
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                  <text>BIOGRAPHICAL SKETCH&#13;
&#13;
	Richard Garrison was a New York photographer with a studio at 52 Vanderbilt Avenue in New York City.  His architectural photographs appeared regularly in such magazines as "House Beautiful," "American Art and Architecture," "Architectural Record," and "House &amp; Garden." According to a recommendation written by Mr. Frederic C. Hirons, Garrison “…was trained as an architect and …knows the vital points in taking architectural photographs…” &#13;
&#13;
&#13;
After F.S. Lincoln’s photography contract expired in 1937, Colonial Williamsburg hired Richard Garrison in his place. A contract signed by Garrison in June 1937 indicates that Garrison was contracted to be available when requested to photograph exterior and interior views of buildings between June 15, 1937 and June 14, 1938. Colonial Williamsburg renewed this agreement with Garrison in 1938 and 1939.  &#13;
&#13;
	Colonial Williamsburg staff members asked Garrison to create a master collection of official photos of Colonial Williamsburg buildings and gardens. He was given several lists of suggested views to take of the exterior and interior of the Governor’s Palace, the Capitol, the Raleigh Tavern, the Public Gaol, the Wren Building, Market Square Tavern, and the Travis House. The lists also instructed him to photograph various gardens and street scenes in the historic area, as well as shops in the business block and exterior views of the Williamsburg Inn. Some of Garrison’s photos formed part of the Virginia exhibit at the New York World’s Fair in 1939.&#13;
&#13;
	Richard Garrison joined the Navy in 1942 and closed his office for the duration of World War II. During this period, his negative files were made available to Colonial Williamsburg at the offices of Underwood &amp; Underwood in New York City. Garrison received his discharge from the Navy in 1946 and contacted Colonial Williamsburg about the possibility of additional contract work. The photographer presented Kenneth Chorley, President of Colonial Williamsburg, with a proposal to photograph the interiors of private homes within the historic area. Mr. Chorley vetoed the proposal because he felt the private interiors were not accurately restored and would confuse the public as to the objectives of the restoration work. Other Colonial Williamsburg staff members were more enthusiastic about the proposal, but it was never approved. Therefore, Garrison did not perform any more contract photography for Colonial Williamsburg after World War II.&#13;
 &#13;
&#13;
Scope and Contents&#13;
&#13;
	The Richard Garrison Photo Collection consists of one portfolio of black and white and hand-colored photos ranging in size from 8x10 to 11x14. These are the only known Garrison photos in the Foundation’s photo archives. The whereabouts of the other negatives and prints created by Garrison while under contract to Colonial Williamsburg are unknown. &#13;
&#13;
	Although it is unfortunate that only a small portion of Garrison’s photographic work for Colonial Williamsburg has been preserved, this small portfolio provides a sample of the types of photographs he created. The subject matter includes interior views of the Governor’s Palace, George Wythe House, Market Square Tavern, and the Raleigh Tavern; exterior views of the Capitol, Raleigh Tavern, Public Gaol, Courthouse, Ludwell-Paradise House, Ayscough Shop, Palmer House, Travis House, Pitt Dixon House, Coke-Garrett House, and the Williamsburg Inn; and various unidentified garden scenes. Some of the photos are mounted on board and signed by the photographer. They date from the period of 1937-1939, when Garrison worked on a contract basis for Colonial Williamsburg. &#13;
&#13;
Garrison's photographs of Colonial Williamsburg appeared in an exhibit at the Pedac Galleries at Rockefeller Center and also in the publication "Williamsburg, Virginia: A Brief Study in Photographs"  published in 1939 by Colonial Williamsburg, Inc.&#13;
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                  <text>“Since 1924, a young man in Williamsburg, Mr. Clyde Holmes, has been collecting newspaper clippings and taking photographs in connection with the Restoration. This man has apparently all the newspaper write-ups that appeared in the local papers touching the Restoration from the time Dr. Goodwin first attempted to have someone buy the town in 1924; he also has from two to three thousand photographs he has taken of the various buildings and streets in Williamsburg before and after the Restoration began.”&#13;
Letter, Vernon Geddy to Perry, Shaw &amp; Hepburn, July 29, 1930, Colonial Williamsburg Corporate Archives&#13;
&#13;
The Clyde Holmes Photograph Collection originated with Clyde Holmes, a long-term Williamsburg resident with a passion for history. His employment at the Imperial Theater on Duke of Gloucester Street helped to develop his interest in film and photography.  As noted in the quote above, Holmes drew inspiration from the early efforts of Dr. W.A.R. Goodwin, rector of Bruton Parish Church, to convince both townspeople and wealthy philanthropists to support preservation of dilapidated structures with ties to the days when Williamsburg was a bustling colonial capital. Goodwin first approached Henry Ford in 1924 with the idea of funding preservation of certain Williamsburg buildings. Undaunted by Ford’s refusal, Goodwin pitched his ideas to John D. Rockefeller, Jr., who agreed to finance restoration of the colonial segment of Williamsburg in 1927. He authorized hiring Perry, Shaw, &amp; Hepburn, a Boston architectural firm, to begin drafting preliminary plans. Once approved, the firm assembled a team of architects and draftsmen who started what local residents jokingly termed a second “Yankee invasion” in the late 1920s as they arrived in the area to study and measure existing buildings, uncover buried foundations, and conduct fieldwork at other colonial sites in the region.&#13;
&#13;
After his photographic efforts came to the attention of this team, Todd &amp; Brown, the firm hired to oversee much of the construction work connected with the Restoration, encouraged Holmes by asking him to assist them with taking “before” photos of various sites. He also took a few to document early progress with archaeological and architectural investigations. While lacking the superior quality of contract photographers hired to aid the team, his amateur photos were recognized early on as having significant value as a working archive of the town’s pre-restoration appearance. Clyde Holmes cooperated with and supported the restoration effort by turning over his collection of clippings and photographs in 1933. &#13;
&#13;
Dating from ca. 1924-1933, his photos capture the birth of the idea of Williamsburg as a tourist destination. Automobiles, a hotel, a souvenir shop, and Association for the Preservation of Virginia Antiquities sites all attest to growing activity in the town as it stood on the brink of transformation into a laboratory for one of the nation’s earliest historic preservation campaigns. Examples of lost architecture that was either soon to be moved or torn down to make way for reconstruction of colonial buildings are also well represented in the collection.&#13;
&#13;
Holmes donated his photos in a bound fire insurance volume. Adhered to the pages with glue, the photos have since been removed for optimal preservation but still await further conservation treatment to remove residual paper backings. Quite a few of the Holmes images were copied by restoration contract photographers and mounted on linen for insertion into albums used on a daily basis by the architectural team. The visible stains, tears, and creases bear witness to the role this group of photos played in providing visual evidence that guided restoration and reconstruction work.&#13;
&#13;
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                  <text>Frank Reginald Nivison served as a contract photographer for Colonial Williamsburg during the initial restoration of the town between 1930 and 1935. Prior to this, he served as a darkroom assistant at the University Film Foundation at Harvard University. He was hired by the Williamsburg Holding Corp. to take progress photos of construction and restoration work, as well as of buildings to be wrecked or moved. According to a memo issued by architect William G. Perry to Frank Nivison on December 12, 1930, his work was to “…include the photography of all buildings and parts of buildings, exterior and interior, which the architects deem necessary for architectural and historical purposes. Such photographs would be supplemented by progress photographs of construction work as it proceeds. All buildings to be wrecked should be photographed before the wrecking takes place. In addition, there will be photographs of furniture, fabrics, and objects of all kinds.”&#13;
&#13;
	Nivison set up a small photographic studio in a room in the Bruton Parish House. His equipment included a Zeiss camera, 5x7 inch, with a F 4.5 lens and a special magazine for cut films, along with a Mitchell tripod with a ball and socket head. His darkroom equipment consisted of an Eastman Auto-focus Enlarger, printing machines, and various accessories such as tanks and scales. Over the course of five years, he took more than 7,000 photographs documenting each stage of the restoration or reconstruction of various 18th-century buildings in Williamsburg. Copies of these photographs were forwarded to the offices of Perry, Shaw, &amp; Hepburn in Boston so that the architects could monitor the progress of various projects. Nivison’s photographs were also used to produce postcards, “before and after” lantern slides, and publicity relating to the restoration of Williamsburg.&#13;
&#13;
	By late 1935, Nivison had started taking on a lot of outside photography business and Colonial Williamsburg officials felt he should establish himself as an independent photographer. Nivison’s employment with Colonial Williamsburg terminated on July 1, 1935. However, Colonial Williamsburg continued to utilize his services on an as needed basis and assisted him in setting up his own business in Williamsburg. Unfortunately, Nivison did not attract enough outside commissions to enable him to operate independently and filed for bankruptcy in 1937. He applied to Colonial Williamsburg for a monthly retainer fee for his periodic services and was given $100.00 per month to draw upon in 1938. With the advent of World War II, Nivison moved back to Massachusetts in 1940.&#13;
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see also Davidson #20</text>
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