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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
604
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
Raleigh Tavern, Daphne Dining Room
Subject
The topic of the resource
Block 17. Building 06.
Raleigh Tavern (Williamsburg, Va.)
Historic buildings -- Virginia -- Williamsburg
Taverns (Inns) -- Virginia -- Williamsburg
Furniture -- Virginia -- Williamsburg
Description
An account of the resource
<p>Interior of the Raleigh Tavern's Daphne dining room, 1935. The Raleigh Tavern was the frequent scene of both jollity and consequence. Dinners and dances rivaled in elegance those at the Palace and burgesses reconvened at the tavern when they were dissolved by royal governors prior to the Revolution. Burned to the ground in 1859, the tavern was reconstructed from published illustrations, insurance policies, and archaeology that uncovered most of the original foundations.</p>
<p>In anticipation of guests' needs, a <strong><a href="http://emuseum.history.org/view/objects/asitem/items$0040:25073#.Uw-dJdkP_PY.google">bottle case or cellaret (accession # 1930-58)</a></strong> is featured to the left of the fireplace. Cellarets functioned as portable wine cellars for holding wine and bottled spirits at mealtimes. Above the fireplace hangs a painting entitled <em>Imaginary Landscape </em>(accession #1931.101.3), a gift of Abby Aldrich Rockefeller. Interior furnishings and decor reflect curators' views in the 1930s as to what Williamsburg's historic interiors may have looked like in the eighteenth century. Nevertheless, with new research findings evolving over the years, the Raleigh Tavern's interior furnishings have changed to reflect a more authentic and accurate view of each room's likely contents and 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
LC326P3
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation
Armchairs
Candlesticks
Cellarets
Ceramics
Chair Rails
Chairs
Cruets
Daphne Room
Dentils
Dining Tables
F.S. Lincoln
Firedogs
Fireplaces
Flatware
Furniture
Historic Buildings
Inns
Interiors
Looking Glasses
Mantels
Mirrors
Ordinaries
Paintings
Raleigh Tavern
Salt Cellars
Sconces
Side Chairs
Silver
Tables
Taverns
Virginia
Wainscotting
Wallpaper
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
600
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
Raleigh Tavern, Common Dining Room
Subject
The topic of the resource
Block 17. Building 06.
Raleigh Tavern (Williamsburg, Va.)
Historic buildings -- Virginia -- Williamsburg
Taverns (Inns) -- Virginia -- Williamsburg
Furniture -- Virginia -- Williamsburg
Description
An account of the resource
Interior of Raleigh Tavern's Common Dining Room, 1935. The Raleigh Tavern was the frequent scene of both jollity and consequence. Burned to the ground in 1859, the tavern was reconstructed from published illustrations, insurance policies, and archaeology that uncovered most of the original foundations.
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 advances over the years, the Raleigh Tavern's interiors have changed and evolved to reflect a more authentic and accurate view of each room's likely contents and 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
LC326P5
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation
Armchairs
Candlesticks
Ceramics
Chair Rails
Chairs
Common Dining Room
Curtains
Dining Tables
F.S. Lincoln
Firedogs
Fireplaces
Furniture
Glass Bottles
Historic Buildings
Inns
Interiors
Mantels
Maps
Ordinaries
Pewter
Prints
Raleigh Tavern
Sconces
Side Chairs
Tables
Tankards
Taverns
Virginia
Wainscotting
Williamsburg
Windsor
-
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e88a8761da45b44406bd288d5a72d915
Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
Bit Depth
8
Channels
3
Height
768
Width
970
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
Raleigh Tavern, Apollo Room
Subject
The topic of the resource
Block 17. Building 06.
Raleigh Tavern (Williamsburg, Va.)
Historic buildings -- Virginia -- Williamsburg
Taverns (Inns) -- Virginia -- Williamsburg
Furniture -- Virginia -- Williamsburg
Description
An account of the resource
Interior of Raleigh Tavern's Apollo Room, 1935. The Apollo Room at the Raleigh Tavern was the frequent scene of both jollity and consequence. Dinners and dances rivaled in elegance those at the Palace and burgesses reconvened at the tavern when they were dissolved by royal governors prior to the Revolution. Burned to the ground in 1859, it was reconstructed from published illustrations, insurance policies, and archaeology that uncovered most of the original foundations.
Interior furnishings and decor reflect curators' views in the 1930s as to what Williamsburg's historic interiors may have looked like in the eighteenth century. Nevertheless, with new research findings evolving over the years, the Raleigh Tavern's interior furnishings have changed to reflect a more authentic and accurate view of each room's likely contents and 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
LC326P9
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation
Apollo Room
Armchairs
Candlestands
Candlesticks
Ceramics
Chair Rails
Chairs
Chandeliers
Curtains
Dentils
Dining Tables
Easy Chairs
F.S. Lincoln
Firedogs
Fireplaces
Floor Coverings
Furniture
Historic Buildings
Inns
Interiors
Mantels
Ordinaries
Prints
Raleigh Tavern
Side Chairs
Tables
Taverns
Tea Tables
Textiles
Virginia
Wainscotting
Williamsburg
-
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Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
Bit Depth
8
Channels
1
Height
768
Width
604
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
Raleigh Tavern, Apollo Room
Subject
The topic of the resource
Block 17. Building 06.
Raleigh Tavern (Williamsburg, Va.)
Historic buildings -- Virginia -- Williamsburg
Taverns (Inns) -- Virginia -- Williamsburg
Furniture -- Virginia -- Williamsburg
Description
An account of the resource
Interior of Raleigh Tavern's Apollo Room, 1935. The Apollo Room at the Raleigh Tavern was the frequent scene of both jollity and consequence. Dinners and dances rivaled in elegance those at the Palace and burgesses reconvened at the tavern when they were dissolved by royal governors prior to the Revolution. Burned to the ground in 1859, it was reconstructed from published illustrations, insurance policies, and archaeology that uncovered most of the original foundations.
Interior furnishings and decor reflect curators' views in the 1930s as to what Williamsburg's historic interiors may have looked like in the eighteenth century. Nevertheless, with new research findings evolving over the years, the Raleigh Tavern's interior furnishings have changed to reflect a more authentic and accurate view of each room's likely contents and 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
LC326P11
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation
Apollo Room
Armchairs
Candlestands
Candlesticks
Chairs
Chandeliers
Dentils
Dining Tables
Easy Chairs
F.S. Lincoln
Firedogs
Fireplaces
Floor Coverings
Furniture
Historic Buildings
Inns
Interiors
Mantels
Ordinaries
Prints
Raleigh Tavern
Side Chairs
Tables
Taverns
Textiles
Virginia
Williamsburg
-
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5d6d4013e43b61fb113e8c98b0f4d738
Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
Bit Depth
8
Channels
3
Height
768
Width
966
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
F.S. Lincoln Photography Collection
Description
An account of the resource
The FS Lincoln Collection
Biographical Sketch
Mr. Fay S. Lincoln (known professionally as F.S. Lincoln) operated a photography studio in New York City from the 1930s until the mid 1960s. He was born in Keene, New Hampshire in 1894 and attended the Massachusetts Institute of Technology. Although he received training as an engineer, Mr. Lincoln chose to become a professional photographer in 1929, when he opened the firm of Nyholm & Lincoln in conjunction with another photographer, Peter Nyholm, in New York City. A few years later, he opened his own studio at 114 East 32nd St.1
In 1932, Lincoln began corresponding with Kenneth Chorley, President of the Colonial Williamsburg Foundation, about the possibility of contracting with the Foundation to photograph the completed restoration work at Williamsburg. Lincoln had learned that John D. Rockefeller, Jr. was looking for someone to create a master collection of photos of Williamsburg through Arthur S. Vernay, an acquaintance of Abby Aldrich Rockefeller. In his correspondence, Lincoln noted he had completed photographic assignments for many of the top architects and designers in New York, including Arthur S. Vernay, Joseph Urban, James Gamble Rogers, Voorhees, Gmelin & Walker, McKim, Mead, & White, Robert Locher, and Eugene Schoen. He also pointed out that he had sold architectural photos to many prominent magazines, including "Architectural Record," "National Geographic," "Country Life," "Architectural Forum," and "Spur."2
Lincoln's credentials, along with sample photographs and recommendations from magazine editors, enabled him to secure a contract with Colonial Williamsburg on April 22, 1935. According to the terms of the contract, Lincoln was hired to prepare a master collection of photographs and negatives that Colonial Williamsburg could sell to tourists and residents of Williamsburg, as well as use for promotional purposes. Lincoln retained the right to sell copies of his photographs at his New York studio, provided he consulted with the Foundation regarding the proposed use of the photographs. He also retained title to all negatives and copyright for all photos until the termination of his business. Plans for a traveling exhibition of Lincoln's photographs of Williamsburg were also mentioned in the contract.3
During 1935, F.S. Lincoln traveled to Williamsburg at seasonal intervals to photograph views requested by the Foundation. A panel of Colonial Williamsburg employees reviewed each series of photos and selected a group to be added to the master collection. F.S. Lincoln photos illustrated two portfolios about Colonial Williamsburg published in the "Architectural Record" in December 1935 and November 1936. Full-page black and white photos of restored buildings and gardens accompanied articles on the restoration written by Kenneth Chorley, Fiske Kimball, William G. Perry, and Arthur Shurcliff. Thus, Lincoln's photos gave the American public their first introduction to the completed restoration.
Lincoln had also been hired by Colonial Williamsburg to create a group of photographs of Williamsburg that could be exhibited. Correspondence between staff members indicates that John D. Rockefeller, Jr. hoped to mount a traveling exhibit of Williamsburg photographs. An exhibit of a selection of Lincoln's views of Williamsburg, along with photos he took for "Harper's Bazaar," "House and Garden," "House Beautiful," "Vanity Fair," "National Geographic," and "Town and Country," was held at the Rabinovitch Gallery in New York City from October 4-17, 1935.
Although Foundation employees were satisfied with the quality of Lincoln's photographs, they were dismayed by the cost of individual prints and enlargements. Memos exchanged between members of the marketing staff indicate that employees were having a hard time convincing distributors to purchase enlargements of the Lincoln photos for display in shop windows. As a result, the Foundation's agreement with F.S. Lincoln was terminated on April 21, 1936.4
Despite this setback, F.S. Lincoln secured contracts for many other architectural photography projects in the 1930s. He received numerous commissions to photograph buildings in New York City and also traveled abroad on several assignments. In 1934, he completed a portfolio of photos of Mont St. Michel and in 1938 he toured the deep South and photographed examples of antebellum architecture. Lincoln's photos were widely published in the 1930s and 1940s in such magazines as "Architectural Record," "House Beautiful," "National Geographic," "Country Life," and "Architectural Forum." In addition, he published a book of his photographs in 1946 entitled "Charleston: Photographic Studies by F.S. Lincoln."5
F.S. Lincoln continued to operate a photography studio in New York City until 1965, when he retired and moved to Center Hall, Pennsylvania to live with his sister. He forwarded all of his negatives of Williamsburg buildings to the Foundation in 1972, along with a letter stating that “the copyright of the photographs has run out, so you are free to use them as desired.”6 Upon his death in 1976, the remainder of Lincoln's archive of prints and negatives, as well as some business papers, were donated to the Pennsylvania State University Archives.
Scope and Contents
The F.S. Lincoln collection consists of black and white negatives and prints taken by Mr. Lincoln in preparation for the publication of "The Restoration of Colonial Williamsburg in Virginia," a series of articles appearing in the December 1935 and November 1936 issues of "The Architectural Record." Both issues featured a portfolio of buildings and gardens in the newly restored historic area of Williamsburg.
In order to produce a large pool of photos for use in these portfolios, Mr. Lincoln created comprehensive visual documentation of the work completed during the initial phases of the restoration (1927-1935.) He photographed the exteriors and interiors of thirty restored buildings, including the exhibition buildings open to the public, such as the Governor's Palace, the Capitol, Raleigh Tavern, Bruton Parish Church, the Wren Building, and the Powder Magazine. In addition, he captured exterior views of some of the shops open on Merchant's Square and restored buildings adapted for public use, such as the Public Library. He also photographed many of the gardens and garden ornaments throughout the restored area.
The collection is organized into series by format. Series included in the collection are negatives; bound matted and signed prints; unbound matted and signed prints; and small albums. Within each format, items are organized according to the numbering system assigned by Mr. Lincoln. The first three digits of numbers assigned to the images correspond to a particular building or subject category. For example, all images of the Capitol have numbers beginning with 325 and all miscellaneous views have numbers beginning with 365. After these first three digits, Lincoln added a P for print and then a successive number for each view. For example, the first view of the Capitol is number 325P1. An “LC” prefix has been added to all image numbers by the Colonial Williamsburg Foundation to identify the images as coming from the Lincoln Collection.
Endnotes
1 Champagne, Anne, “Fay S. Lincoln Collection,” History of Photography 17, (Spring 1993): 127-128.
2 F.S. Lincoln to B.W. Norton, October 18, 1933. Colonial Williamsburg Foundation Archives.
3 Agreement dated April 22, 1935 between Colonial Williamsburg, Inc. and F.S. Lincoln, Colonial Williamsburg Foundation Archives.
4 Mr. Norton to Mr. Darling, February 22, 1937; Kenneth Chorley to F.S. Lincoln, April 6, 1937, Colonial Williamsburg Foundation Archives.
5 Champagne, Anne, “Fay S. Lincoln Collection,” History of Photography 17 (Spring 1993): 128.
6 F.S. Lincoln to James R. Short, May 15, 1972, Colonial Williamsburg Foundation Archives.
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
Gelatin or collodian printing out paper with platinum toning, mounted on board
Physical Dimensions
The actual physical size of the original image.
8x10 inches
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Raleigh Tavern, Daphne Room
Subject
The topic of the resource
Block 17. Building 06.
Raleigh Tavern (Williamsburg, Va.)
Historic buildings -- Virginia -- Williamsburg
Taverns (Inns) -- Virginia -- Williamsburg
Description
An account of the resource
<p>Interior of the Raleigh Tavern's Daphne dining room, 1935. The family portrait on the wall, entitled <em>Family Group With Two Servants</em>, was painted in England in 1790 (accession #1939-290). Under the portrait, <strong><a href="http://emuseum.history.org/view/objects/asitem/items$0040:59886#.Uw-ttr5TkUo.google">two mahogany knife boxes (accession #1930-303, 1)</a></strong> are featured on either end of a sideboard table.</p>
<p>The Raleigh Tavern was the frequent scene of both jollity and consequence. Dinners and dances rivaled in elegance those at the Palace and burgesses reconvened at the tavern when they were dissolved by royal governors prior to the Revolution. Burned to the ground in 1859, it was reconstructed from published illustrations, insurance policies, and archaeology that uncovered most of the original foundations.</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 Raleigh Tavern's interior furnishings have changed to reflect a more authentic and accurate view of each room's likely contents and 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
LC326P12
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation
Armchairs
Candelabras
Candlesticks
Ceramics
Chair Rails
Chairs
Cruets
Curtains
Daphne Room
Dentils
Dining Tables
F.S. Lincoln
Fireplaces
Flatware
Furniture
Historic Buildings
Inns
Interiors
Knife Boxes
Looking Glasses
Mantels
Mirrors
Ordinaries
Paintings
Portraits
Raleigh Tavern
Salt Cellars
Sconces
Side Chairs
Sideboard Tables
Silver
Tables
Taverns
Tea Urns
Virginia
Wainscotting
Wallpaper
Williamsburg
-
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Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
Bit Depth
8
Channels
3
Height
768
Width
964
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
Raleigh Tavern, Common Dining Room
Subject
The topic of the resource
Block 17. Building 06.
Raleigh Tavern (Williamsburg, Va.)
Historic buildings -- Virginia -- Williamsburg
Taverns (Inns) -- Virginia -- Williamsburg
Furniture -- Virginia -- Williamsburg
Description
An account of the resource
Interior of the Raleigh Tavern's Common Dining Room, 1935. The Raleigh Tavern was the frequent scene of both jollity and consequence. Burned to the ground in 1859, the tavern was reconstructed from published illustrations, insurance policies, and archaeology that uncovered most of the original foundations.
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 advances over the years, the Raleigh Tavern's interiors have changed and evolved to reflect a more authentic and accurate view of each room's likely contents and 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
LC326P15
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation
Armchairs
Candlesticks
Ceramics
Chair Rails
Chairs
Common Dining Room
Curtains
Dining Tables
F.S. Lincoln
Firedogs
Fireplaces
Furniture
Glass Bottles
Glassware
Historic Buildings
Inns
Interiors
Mantels
Maps
Ordinaries
Pewter
Prints
Raleigh Tavern
Sconces
Side Chairs
Tables
Tankards
Taverns
Virginia
Wainscotting
Williamsburg
Windsor
-
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6c742d7803c5ae05af60f7e16f95566a
Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
Bit Depth
8
Channels
3
Height
768
Width
971
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
F.S. Lincoln Photography Collection
Description
An account of the resource
The FS Lincoln Collection
Biographical Sketch
Mr. Fay S. Lincoln (known professionally as F.S. Lincoln) operated a photography studio in New York City from the 1930s until the mid 1960s. He was born in Keene, New Hampshire in 1894 and attended the Massachusetts Institute of Technology. Although he received training as an engineer, Mr. Lincoln chose to become a professional photographer in 1929, when he opened the firm of Nyholm & 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
Market Square Tavern, Great Room
Subject
The topic of the resource
Market Square Tavern (Williamsburg, Va.)
Historic buildings - Virginia - Williamsburg
Block 12. Building 13.
Taverns (Inns) - Virginia - Williamsburg
Description
An account of the resource
View of the west end of the Great Room of the Market Square Tavern taken by F.S. Lincoln in 1935. The original tavern structure burned down in 1859 but the remains of the original foundations allowed for the restoration of the building to its eighteenth-century appearance. John Dixon constructed the original around 1749 and used it as a combination dwelling and shop. Later additions allowed the building to be converted into a tavern operated first by Thomas Craig and later by Gabriel Maupin.
After its restoration in the early 1930s, guests at Colonial Williamsburg could rent rooms in the tavern to experience some colonial ambiance. The Great Room served as a gathering spot for conversations, games, and special occasions. Its focal point is a large round table encircled by Windsor chairs. A desk, high chest of drawers, side table, armchair, and ladder-back side chair complete the furnishings.
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
LC328P2
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation
Armchairs
Candlesticks
Ceramics
Chests of Drawers
Curtains
Desks
F.S. Lincoln
Great Room
Historic Buildings
Inns
Ladder Back Chairs
Maps
Market Square Tavern
Prints
Rugs
Side Chairs
Side Tables
Tables
Taverns
Virginia
Williamsburg
Windsor
-
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e99e96d3c894a1bb0d26a5251e870237
Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
Bit Depth
8
Channels
3
Height
768
Width
971
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
F.S. Lincoln Photography Collection
Description
An account of the resource
The FS Lincoln Collection
Biographical Sketch
Mr. Fay S. Lincoln (known professionally as F.S. Lincoln) operated a photography studio in New York City from the 1930s until the mid 1960s. He was born in Keene, New Hampshire in 1894 and attended the Massachusetts Institute of Technology. Although he received training as an engineer, Mr. Lincoln chose to become a professional photographer in 1929, when he opened the firm of Nyholm & 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
Market Square Tavern, Great Room
Subject
The topic of the resource
Market Square Tavern (Williamsburg, Va.)
Block 12. Building 13.
Historic buildings - Virginia - Williamsburg
Taverns (Inns) - Virginia - Williamsburg
Description
An account of the resource
View of the west end of the Great Room of the Market Square Tavern taken by F.S. Lincoln in 1935. The original tavern structure burned down in 1859 but the remains of the original foundations allowed for the restoration of the building to its eighteenth-century appearance. John Dixon constructed the original around 1749 and used it as a combination dwelling and shop. Later additions allowed the building to be converted into a tavern operated first by Thomas Craig and later by Gabriel Maupin.
After its restoration in the early 1930s, guests at Colonial Williamsburg could rent rooms in the tavern to experience some colonial ambiance. The Great Room served as a gathering spot for conversations, games, and special occasions. Its focal point is a large round table encircled by Windsor chairs. A desk, high chest of drawers, side table, armchair, and ladder-back side chair complete the furnishings.
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
LC328P3
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation
Armchairs
Candlesticks
Ceramics
Curtains
Desks
Easy Chairs
F.S. Lincoln
Floor Coverings
Furnishings
Great Room
High Chests of Drawers
Historic Buildings
Inns
Ladder Back Chairs
Maps
Market Square Tavern
Prints
Rugs
Side Chairs
Side Tables
Tables
Taverns
Virginia
Williamsburg
Windsor
-
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Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
Bit Depth
8
Channels
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Height
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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, Governor's Office
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 of the Governor's Office in the Governor's Palace, 1935. Interior furnishings and decor reflect curators' views in the 1930s as to how Williamsburg's historic interiors may have looked in the eighteenth century. Nevertheless, with new research advancements over the years, the interior furnishings of the Governor’s Palace have changed to reflect a more authentic and accurate view of the building’s likely contents and room arrangements.
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
LC327P54
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation
Books
Candlesticks
Case Furniture
Chair Rails
Dentils
Desks
Dining Tables
F.S. Lincoln
Firedogs
Fireplaces
Fretwork
Friezes
Governor's Office
Governor's Palace
Historic Buildings
Mantels
Public Buildings
Rosettes
Side Chairs
Tall Clocks
Triglyphs
Venetian Blinds
Virginia
Wainscotting
Williamsburg
-
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Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
Bit Depth
8
Channels
1
Height
768
Width
970
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, Bedroom
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 of the Governor's Bedroom in the Governor's Palace, view from the bed, 1935. Among the furnishings pictured in the room, a large <strong><a href="http://emuseum.history.org/view/objects/asitem/items$0040:23452#.UxeBmipLcC8.gmail">chest on chest (accession # 1935-343)</a></strong>, made of mahogany and white pine, stands against the wall to the left. Interior furnishings and decor reflect curators' views in the 1930s as to how Williamsburg's historic interiors may have looked in the eighteenth century. Nevertheless, with new research advancements over the years, the interior furnishings of the Governor’s Palace have changed to reflect a more authentic and accurate view of the building’s likely contents and room arrangements.
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
LC327P56
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation
Bed Furniture
Bedrooms
Case Furniture
Chair Rails
Chest on Chests
Dentils
Double Chest of Drawers
Easy Chairs
Egg and Dart Patterns
F.S. Lincoln
Firedogs
Fireplaces
Governor's Bedroom
Governor's Palace
High-Post Bedsteads
Historic Buildings
Mantels
Paintings
Portraits
Public Buildings
Side Chairs
Textiles
Virginia
Wainscotting
Williamsburg
-
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Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
Bit Depth
8
Channels
3
Height
768
Width
966
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
F.S. Lincoln Photography Collection
Description
An account of the resource
The FS Lincoln Collection
Biographical Sketch
Mr. Fay S. Lincoln (known professionally as F.S. Lincoln) operated a photography studio in New York City from the 1930s until the mid 1960s. He was born in Keene, New Hampshire in 1894 and attended the Massachusetts Institute of Technology. Although he received training as an engineer, Mr. Lincoln chose to become a professional photographer in 1929, when he opened the firm of Nyholm & Lincoln in conjunction with another photographer, Peter Nyholm, in New York City. A few years later, he opened his own studio at 114 East 32nd St.1
In 1932, Lincoln began corresponding with Kenneth Chorley, President of the Colonial Williamsburg Foundation, about the possibility of contracting with the Foundation to photograph the completed restoration work at Williamsburg. Lincoln had learned that John D. Rockefeller, Jr. was looking for someone to create a master collection of photos of Williamsburg through Arthur S. Vernay, an acquaintance of Abby Aldrich Rockefeller. In his correspondence, Lincoln noted he had completed photographic assignments for many of the top architects and designers in New York, including Arthur S. Vernay, Joseph Urban, James Gamble Rogers, Voorhees, Gmelin & Walker, McKim, Mead, & White, Robert Locher, and Eugene Schoen. He also pointed out that he had sold architectural photos to many prominent magazines, including "Architectural Record," "National Geographic," "Country Life," "Architectural Forum," and "Spur."2
Lincoln's credentials, along with sample photographs and recommendations from magazine editors, enabled him to secure a contract with Colonial Williamsburg on April 22, 1935. According to the terms of the contract, Lincoln was hired to prepare a master collection of photographs and negatives that Colonial Williamsburg could sell to tourists and residents of Williamsburg, as well as use for promotional purposes. Lincoln retained the right to sell copies of his photographs at his New York studio, provided he consulted with the Foundation regarding the proposed use of the photographs. He also retained title to all negatives and copyright for all photos until the termination of his business. Plans for a traveling exhibition of Lincoln's photographs of Williamsburg were also mentioned in the contract.3
During 1935, F.S. Lincoln traveled to Williamsburg at seasonal intervals to photograph views requested by the Foundation. A panel of Colonial Williamsburg employees reviewed each series of photos and selected a group to be added to the master collection. F.S. Lincoln photos illustrated two portfolios about Colonial Williamsburg published in the "Architectural Record" in December 1935 and November 1936. Full-page black and white photos of restored buildings and gardens accompanied articles on the restoration written by Kenneth Chorley, Fiske Kimball, William G. Perry, and Arthur Shurcliff. Thus, Lincoln's photos gave the American public their first introduction to the completed restoration.
Lincoln had also been hired by Colonial Williamsburg to create a group of photographs of Williamsburg that could be exhibited. Correspondence between staff members indicates that John D. Rockefeller, Jr. hoped to mount a traveling exhibit of Williamsburg photographs. An exhibit of a selection of Lincoln's views of Williamsburg, along with photos he took for "Harper's Bazaar," "House and Garden," "House Beautiful," "Vanity Fair," "National Geographic," and "Town and Country," was held at the Rabinovitch Gallery in New York City from October 4-17, 1935.
Although Foundation employees were satisfied with the quality of Lincoln's photographs, they were dismayed by the cost of individual prints and enlargements. Memos exchanged between members of the marketing staff indicate that employees were having a hard time convincing distributors to purchase enlargements of the Lincoln photos for display in shop windows. As a result, the Foundation's agreement with F.S. Lincoln was terminated on April 21, 1936.4
Despite this setback, F.S. Lincoln secured contracts for many other architectural photography projects in the 1930s. He received numerous commissions to photograph buildings in New York City and also traveled abroad on several assignments. In 1934, he completed a portfolio of photos of Mont St. Michel and in 1938 he toured the deep South and photographed examples of antebellum architecture. Lincoln's photos were widely published in the 1930s and 1940s in such magazines as "Architectural Record," "House Beautiful," "National Geographic," "Country Life," and "Architectural Forum." In addition, he published a book of his photographs in 1946 entitled "Charleston: Photographic Studies by F.S. Lincoln."5
F.S. Lincoln continued to operate a photography studio in New York City until 1965, when he retired and moved to Center Hall, Pennsylvania to live with his sister. He forwarded all of his negatives of Williamsburg buildings to the Foundation in 1972, along with a letter stating that “the copyright of the photographs has run out, so you are free to use them as desired.”6 Upon his death in 1976, the remainder of Lincoln's archive of prints and negatives, as well as some business papers, were donated to the Pennsylvania State University Archives.
Scope and Contents
The F.S. Lincoln collection consists of black and white negatives and prints taken by Mr. Lincoln in preparation for the publication of "The Restoration of Colonial Williamsburg in Virginia," a series of articles appearing in the December 1935 and November 1936 issues of "The Architectural Record." Both issues featured a portfolio of buildings and gardens in the newly restored historic area of Williamsburg.
In order to produce a large pool of photos for use in these portfolios, Mr. Lincoln created comprehensive visual documentation of the work completed during the initial phases of the restoration (1927-1935.) He photographed the exteriors and interiors of thirty restored buildings, including the exhibition buildings open to the public, such as the Governor's Palace, the Capitol, Raleigh Tavern, Bruton Parish Church, the Wren Building, and the Powder Magazine. In addition, he captured exterior views of some of the shops open on Merchant's Square and restored buildings adapted for public use, such as the Public Library. He also photographed many of the gardens and garden ornaments throughout the restored area.
The collection is organized into series by format. Series included in the collection are negatives; bound matted and signed prints; unbound matted and signed prints; and small albums. Within each format, items are organized according to the numbering system assigned by Mr. Lincoln. The first three digits of numbers assigned to the images correspond to a particular building or subject category. For example, all images of the Capitol have numbers beginning with 325 and all miscellaneous views have numbers beginning with 365. After these first three digits, Lincoln added a P for print and then a successive number for each view. For example, the first view of the Capitol is number 325P1. An “LC” prefix has been added to all image numbers by the Colonial Williamsburg Foundation to identify the images as coming from the Lincoln Collection.
Endnotes
1 Champagne, Anne, “Fay S. Lincoln Collection,” History of Photography 17, (Spring 1993): 127-128.
2 F.S. Lincoln to B.W. Norton, October 18, 1933. Colonial Williamsburg Foundation Archives.
3 Agreement dated April 22, 1935 between Colonial Williamsburg, Inc. and F.S. Lincoln, Colonial Williamsburg Foundation Archives.
4 Mr. Norton to Mr. Darling, February 22, 1937; Kenneth Chorley to F.S. Lincoln, April 6, 1937, Colonial Williamsburg Foundation Archives.
5 Champagne, Anne, “Fay S. Lincoln Collection,” History of Photography 17 (Spring 1993): 128.
6 F.S. Lincoln to James R. Short, May 15, 1972, Colonial Williamsburg Foundation Archives.
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
Gelatin or collodian printing out paper with platinum toning, mounted on board
Physical Dimensions
The actual physical size of the original image.
8x10 inches
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Governor's Palace, Upper Middle Room
Subject
The topic of the resource
Block 20. Building 03.
Governor’s Palace (Williamsburg, Va.)
Historic buildings -- Virginia -- Williamsburg
Public buildings -- Virginia -- Williamsburg
Furniture -- Virginia -- Williamsburg
Description
An account of the resource
<p>Interior of the Upper Middle Room in the Governor's Palace, 1935. Among other furnishings, a beautiful <strong><a href="http://emuseum.history.org/view/objects/asitem/items$0040:49519#.UxeFvHtU8Hs.gmail">desk (accession # 1930-210)</a></strong>, made of mahogany, white pine, and ash, stands against the wall to the left.The room's former hand-tooled leather wall coverings are also visible on the walls, though they have now been removed due to deterioration.</p>
<p>Interior furnishings and decor reflect curators' views in the 1930s as to how Williamsburg's historic interiors may have looked in the eighteenth century. Nevertheless, with new research advancements over the years, the interior furnishings of the Governor’s Palace have changed to reflect a more authentic and accurate view of the building’s likely contents and room arrangements.</p>
Creator
An entity primarily responsible for making the resource
Lincoln, F.S.
Date
A point or period of time associated with an event in the lifecycle of the resource
1935
Date Created
Date of creation of the resource.
1935
Rights
Information about rights held in and over the resource
This material is protected by copyright law (Title 17, U.S. Code). For reproduction queries: <a href="http://research.history.org/JDRLibrary/Visual_Resources/VisualResourcePermission.cfm">Rights and reproductions</a>
Format
The file format, physical medium, or dimensions of the resource
jpeg
Type
The nature or genre of the resource
Image
Identifier
An unambiguous reference to the resource within a given context
LC327P58
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation
Books
Candlesticks
Ceramics
Chandeliers
Desks
F.S. Lincoln
Firedogs
Fireplaces
Governor's Palace
Hand-Tooled Leather Wall Coverings
Historic Buildings
Looking Glasses
Mantels
Marble
Mirrors
Public Buildings
Side Chairs
Upper Middle Room
Virginia
Williamsburg
-
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Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
Bit Depth
8
Channels
3
Height
750
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
Governor's Palace, 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
Furniture -- Virginia -- Williamsburg
Description
An account of the resource
<p>Interior of the Supper Room in the Governor's Palace, 1935. A Chinese wallpaper pattern is visible on the walls, though it has since been removed. Among the room's furnishings, an elegant marble-topped <strong><a href="http://emuseum.history.org/view/objects/asitem/items$0040:47990#.UxeKZKmr-kw.gmail">sideboard table (accession # 1930-196)</a></strong> stands against the wall to the right.</p>
<p>Interior furnishings and decor reflect curators' views in the 1930s as to how Williamsburg's historic interiors may have looked in the eighteenth century. Nevertheless, with the advance of new research findings over the years, the interiors of the Governor’s Palace have changed to reflect a more authentic and accurate view of the building’s likely contents and room arrangements.</p>
Creator
An entity primarily responsible for making the resource
Lincoln, F.S.
Date
A point or period of time associated with an event in the lifecycle of the resource
1935
Date Created
Date of creation of the resource.
1935
Rights
Information about rights held in and over the resource
This material is protected by copyright law (Title 17, U.S. Code). For reproduction queries: <a href="http://research.history.org/JDRLibrary/Visual_Resources/VisualResourcePermission.cfm">Rights and reproductions</a>
Format
The file format, physical medium, or dimensions of the resource
jpeg
Type
The nature or genre of the resource
Image
Identifier
An unambiguous reference to the resource within a given context
LC327P62
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation
Chair Rails
Chandeliers
Chinese Wallpaper
Cove Ceilings
Dentils
Doors
F.S. Lincoln
Fretwork
Governor's Palace
Historic Buildings
Pediments
Public Buildings
Side Chairs
Sideboard Tables
Supper Room
Virginia
Wainscotting
Williamsburg
-
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a002a4a4b84acec507e4c1498cb3d52f
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
608
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
F.S. Lincoln Photography Collection
Description
An account of the resource
The FS Lincoln Collection
Biographical Sketch
Mr. Fay S. Lincoln (known professionally as F.S. Lincoln) operated a photography studio in New York City from the 1930s until the mid 1960s. He was born in Keene, New Hampshire in 1894 and attended the Massachusetts Institute of Technology. Although he received training as an engineer, Mr. Lincoln chose to become a professional photographer in 1929, when he opened the firm of Nyholm & Lincoln in conjunction with another photographer, Peter Nyholm, in New York City. A few years later, he opened his own studio at 114 East 32nd St.1
In 1932, Lincoln began corresponding with Kenneth Chorley, President of the Colonial Williamsburg Foundation, about the possibility of contracting with the Foundation to photograph the completed restoration work at Williamsburg. Lincoln had learned that John D. Rockefeller, Jr. was looking for someone to create a master collection of photos of Williamsburg through Arthur S. Vernay, an acquaintance of Abby Aldrich Rockefeller. In his correspondence, Lincoln noted he had completed photographic assignments for many of the top architects and designers in New York, including Arthur S. Vernay, Joseph Urban, James Gamble Rogers, Voorhees, Gmelin & Walker, McKim, Mead, & White, Robert Locher, and Eugene Schoen. He also pointed out that he had sold architectural photos to many prominent magazines, including "Architectural Record," "National Geographic," "Country Life," "Architectural Forum," and "Spur."2
Lincoln's credentials, along with sample photographs and recommendations from magazine editors, enabled him to secure a contract with Colonial Williamsburg on April 22, 1935. According to the terms of the contract, Lincoln was hired to prepare a master collection of photographs and negatives that Colonial Williamsburg could sell to tourists and residents of Williamsburg, as well as use for promotional purposes. Lincoln retained the right to sell copies of his photographs at his New York studio, provided he consulted with the Foundation regarding the proposed use of the photographs. He also retained title to all negatives and copyright for all photos until the termination of his business. Plans for a traveling exhibition of Lincoln's photographs of Williamsburg were also mentioned in the contract.3
During 1935, F.S. Lincoln traveled to Williamsburg at seasonal intervals to photograph views requested by the Foundation. A panel of Colonial Williamsburg employees reviewed each series of photos and selected a group to be added to the master collection. F.S. Lincoln photos illustrated two portfolios about Colonial Williamsburg published in the "Architectural Record" in December 1935 and November 1936. Full-page black and white photos of restored buildings and gardens accompanied articles on the restoration written by Kenneth Chorley, Fiske Kimball, William G. Perry, and Arthur Shurcliff. Thus, Lincoln's photos gave the American public their first introduction to the completed restoration.
Lincoln had also been hired by Colonial Williamsburg to create a group of photographs of Williamsburg that could be exhibited. Correspondence between staff members indicates that John D. Rockefeller, Jr. hoped to mount a traveling exhibit of Williamsburg photographs. An exhibit of a selection of Lincoln's views of Williamsburg, along with photos he took for "Harper's Bazaar," "House and Garden," "House Beautiful," "Vanity Fair," "National Geographic," and "Town and Country," was held at the Rabinovitch Gallery in New York City from October 4-17, 1935.
Although Foundation employees were satisfied with the quality of Lincoln's photographs, they were dismayed by the cost of individual prints and enlargements. Memos exchanged between members of the marketing staff indicate that employees were having a hard time convincing distributors to purchase enlargements of the Lincoln photos for display in shop windows. As a result, the Foundation's agreement with F.S. Lincoln was terminated on April 21, 1936.4
Despite this setback, F.S. Lincoln secured contracts for many other architectural photography projects in the 1930s. He received numerous commissions to photograph buildings in New York City and also traveled abroad on several assignments. In 1934, he completed a portfolio of photos of Mont St. Michel and in 1938 he toured the deep South and photographed examples of antebellum architecture. Lincoln's photos were widely published in the 1930s and 1940s in such magazines as "Architectural Record," "House Beautiful," "National Geographic," "Country Life," and "Architectural Forum." In addition, he published a book of his photographs in 1946 entitled "Charleston: Photographic Studies by F.S. Lincoln."5
F.S. Lincoln continued to operate a photography studio in New York City until 1965, when he retired and moved to Center Hall, Pennsylvania to live with his sister. He forwarded all of his negatives of Williamsburg buildings to the Foundation in 1972, along with a letter stating that “the copyright of the photographs has run out, so you are free to use them as desired.”6 Upon his death in 1976, the remainder of Lincoln's archive of prints and negatives, as well as some business papers, were donated to the Pennsylvania State University Archives.
Scope and Contents
The F.S. Lincoln collection consists of black and white negatives and prints taken by Mr. Lincoln in preparation for the publication of "The Restoration of Colonial Williamsburg in Virginia," a series of articles appearing in the December 1935 and November 1936 issues of "The Architectural Record." Both issues featured a portfolio of buildings and gardens in the newly restored historic area of Williamsburg.
In order to produce a large pool of photos for use in these portfolios, Mr. Lincoln created comprehensive visual documentation of the work completed during the initial phases of the restoration (1927-1935.) He photographed the exteriors and interiors of thirty restored buildings, including the exhibition buildings open to the public, such as the Governor's Palace, the Capitol, Raleigh Tavern, Bruton Parish Church, the Wren Building, and the Powder Magazine. In addition, he captured exterior views of some of the shops open on Merchant's Square and restored buildings adapted for public use, such as the Public Library. He also photographed many of the gardens and garden ornaments throughout the restored area.
The collection is organized into series by format. Series included in the collection are negatives; bound matted and signed prints; unbound matted and signed prints; and small albums. Within each format, items are organized according to the numbering system assigned by Mr. Lincoln. The first three digits of numbers assigned to the images correspond to a particular building or subject category. For example, all images of the Capitol have numbers beginning with 325 and all miscellaneous views have numbers beginning with 365. After these first three digits, Lincoln added a P for print and then a successive number for each view. For example, the first view of the Capitol is number 325P1. An “LC” prefix has been added to all image numbers by the Colonial Williamsburg Foundation to identify the images as coming from the Lincoln Collection.
Endnotes
1 Champagne, Anne, “Fay S. Lincoln Collection,” History of Photography 17, (Spring 1993): 127-128.
2 F.S. Lincoln to B.W. Norton, October 18, 1933. Colonial Williamsburg Foundation Archives.
3 Agreement dated April 22, 1935 between Colonial Williamsburg, Inc. and F.S. Lincoln, Colonial Williamsburg Foundation Archives.
4 Mr. Norton to Mr. Darling, February 22, 1937; Kenneth Chorley to F.S. Lincoln, April 6, 1937, Colonial Williamsburg Foundation Archives.
5 Champagne, Anne, “Fay S. Lincoln Collection,” History of Photography 17 (Spring 1993): 128.
6 F.S. Lincoln to James R. Short, May 15, 1972, Colonial Williamsburg Foundation Archives.
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
Gelatin or collodian printing out paper with platinum toning, mounted on board
Physical Dimensions
The actual physical size of the original image.
8x10 inches
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Governor's Palace, Parlor
Subject
The topic of the resource
Block 20. Building 03.
Governor’s Palace (Williamsburg, Va.)
Historic buildings -- Virginia -- Williamsburg
Public buildings -- Virginia -- Williamsburg
Furniture -- Virginia -- Williamsburg
Description
An account of the resource
<p>Interior of the parlor in the Governor's Palace, 1935. The painted portrait above the mantel represents King James I of England (and VI of Scotland). A handsome tilt-top mahogany <strong><a href="http://emuseum.history.org/view/objects/asitem/items$0040:46574#.UxeNhQQ60AA.gmail">tea table (accession # 1930-184)</a></strong> stands in the middle of the room, and an elegant card table stands to the left against the wall.</p>
<p>Interior furnishings and decor reflect curators' views in the 1930s as to how Williamsburg's historic interiors may have looked in the eighteenth century. Nevertheless, with the advance of new research findings over the years, the interiors of the Governor’s Palace have changed to reflect a more authentic and accurate view of the building’s likely contents and room arrangements.</p>
Creator
An entity primarily responsible for making the resource
Lincoln, F.S.
Date
A point or period of time associated with an event in the lifecycle of the resource
1935
Date Created
Date of creation of the resource.
1935
Rights
Information about rights held in and over the resource
This material is protected by copyright law (Title 17, U.S. Code). For reproduction queries: <a href="http://research.history.org/JDRLibrary/Visual_Resources/VisualResourcePermission.cfm">Rights and reproductions</a>
Format
The file format, physical medium, or dimensions of the resource
jpeg
Type
The nature or genre of the resource
Image
Identifier
An unambiguous reference to the resource within a given context
LC327P65
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation
Bas-Relief
Card Tables
Carpets
Chair Rails
Chess Boards
Clocks
F.S. Lincoln
Firedogs
Fireplaces
Floor Coverings
Flowers
Governor's Palace
Historic Buildings
King James I
Mantels
Marble
Paintings
Portraits
Public Buildings
Sconces
Side Chairs
Tea Tables
Virginia
Wainscotting
Williamsburg
-
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Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
Bit Depth
8
Channels
1
Height
768
Width
613
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
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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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
974
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, Study
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 of the Study in the Governor's Palace, 1935. 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
LC327P71
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation
Armchairs
Books
Case Furniture
Chinese Wallpaper
F.S. Lincoln
Governor's Palace
Historic Buildings
Interiors
Public Buildings
Side Chairs
Study
Tea Tables
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
3
Height
768
Width
943
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
Wren Building, Blue Room
Subject
The topic of the resource
Wren Building (Williamsburg, Va.)
Block 16. Building 3.
Public buildings - Virginia - Williamsburg
Historic buildings - Virginia - Williamsburg
Description
An account of the resource
View looking towards the fireplace in the Blue Room of the Wren Building, College of William & Mary, taken by F.S. Lincoln in 1935. Begun in 1695, the construction of the Wren Building marked the birth of an academic center in colonial Virginia. A series of fires in 1705, 1859, and 1862 damaged parts of the structure but never completely destroyed exterior walls. The Blue Room served as a place for college officials to conduct business or to meet with students to discuss their academic performance or any need to improve conduct.
Portraits hanging on the walls are: left, "Portrait of Thomas Roderick Dew" (1802-1846) by William Garl Brown[e], Jr. and right, "Portrait of Robert Boyle" (1627-1691) by James Worsdale [after Johann Kerseboom.]
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
LC329P1
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation
Armchairs
Blue Room
Books
Chair Rails
Chandeliers
College of William and Mary
F.S. Lincoln
Fireplaces
Mantels
Paintings
Portraits
Side Chairs
Tables
Virginia
Wainscotting
Williamsburg
Wren Building
-
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9a6eed34db37f0d4f2fd3c46b276ac59
Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
Bit Depth
8
Channels
3
Height
768
Width
969
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
F.S. Lincoln Photography Collection
Description
An account of the resource
The FS Lincoln Collection
Biographical Sketch
Mr. Fay S. Lincoln (known professionally as F.S. Lincoln) operated a photography studio in New York City from the 1930s until the mid 1960s. He was born in Keene, New Hampshire in 1894 and attended the Massachusetts Institute of Technology. Although he received training as an engineer, Mr. Lincoln chose to become a professional photographer in 1929, when he opened the firm of Nyholm & 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
Public Gaol, Keeper's Quarters
Subject
The topic of the resource
Block 27. Building 02.
Public Gaol (Williamsburg, Va.)
Historic buildings -- Virginia -- Williamsburg
Public buildings -- Virginia -- Williamsburg
Description
An account of the resource
<p>Interior view of the Public Gaol Keeper's Quarters, 1935. Opened as an exhibition building in April 1936, the Public Gaol is one of the surviving original buildings restored to its eighteenth-century appearance. This room served as a place for the gaoler on duty to rest, eat a meal, or work on paperwork. "In its present form, the Public Gaol has three rooms on the first floor -- a hall and chamber for the gaoler and his family and a cell at the rear for debtors -- and 'chambers' in the attic for the gaoler's use and the confinement of prisoners." York County inventories aided the curatorial staff in selecting antique furnishings similar to those the gaolers actually used. Among the room's furnishings, a yellow pine <strong><a href="http://emuseum.history.org/view/objects/asitem/items$0040:24024#.UxoVeBr_ABs.gmail">dresser (accession # 1936-34)</a></strong> is pictured to the far right against the wall.</p>
<p>Interior furnishings and decor reflect curators' views in the 1930s as to how Williamsburg's historic interiors may have looked in the eighteenth century. Nevertheless, with 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>
<p>(Source: Michael Olmert and Suzanne Coffman, <em>Official Guide to Colonial Williamsburg</em> [Williamsburg, VA: The Colonial Williamsburg Foundation, 2007], 74).</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
LC373P3
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation
Bed Warmers
Books
Candlesticks
Ceramics
Chair Rails
Corner Chairs
Corner Cupboards
Desks
Dressers
F.S. Lincoln
Firedogs
Fireplaces
Glass Bottles
Historic Buildings
Hourglasses
Interiors
Jails
Keeper's Office
Keeper's Quarters
Mantels
Mortars and Pestles
Pewter
Plates
Prints
Public Buildings
Public Gaol
Side Chairs
Smoking Chairs
Tables
Tinderboxes
Virginia
Warming Pans
Williamsburg
-
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72aa0c7b9902e3e8f6a7af23ea285c30
Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
Bit Depth
8
Channels
3
Height
768
Width
975
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
Travis House, Dining Room
Subject
The topic of the resource
Travis House (Williamsburg, Va.)
Block 13. Building 23A.
Restaurants - Virginia - Williamsburg
Historic buildings - Virginia - Williamsburg
Description
An account of the resource
A popular restaurant for tourists in the 1930s, the Travis House stood for a period of time along Duke of Gloucester Street on the site formerly occupied by the Palace Theatre. Its menu featured dishes inspired by colonial recipes. The structure moved back to its original location at the northeast corner of Francis and Henry Streets in the early 1950s.
Colonel Edward Champion Travis built the home in 1765 and it acquired several additions as successive owners occupied the site. Travis served in the House of Burgesses and was its most prominent colonial occupant. The house became a residence for superintendents of Eastern State Hospital in the nineteenth and early twentieth centuries.
Eastern State Hospital turned the building over to the Williamsburg Restoration in 1929 and this led to its temporary move to Duke of Gloucester Street to become a restaurant between 1930-1951.
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
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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
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jpeg
Type
The nature or genre of the resource
Image
Identifier
An unambiguous reference to the resource within a given context
LC360P3
Rights Holder
A person or organization owning or managing rights over the resource.
Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation
Candlesticks
Ceramics
Chair Rails
Curtains
Dining Rooms
F.S. Lincoln
Firedogs
Fireplaces
Flatware
Glassware
Historic Buildings
Interiors
Ladder Back Chairs
Mantels
Paintings
Pewter
Plates
Platters
Portraits
Restaurants
Sconces
Side Chairs
Sideboard Tables
Tables
Travis House
Valances
Virginia
Wainscotting
Williamsburg
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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
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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
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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
A Dining Room in the Travis House
Subject
The topic of the resource
Travis House (Williamsburg, Va.)
Taverns (Inns) - Virginia - Williamsburg
Historic buildings - Virginia - Williamsburg
Restaurants - Virginia - Williamsburg
Block 13. Building 23A.
Identifier
An unambiguous reference to the resource within a given context
PSC-026
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 taken by F.S. Lincoln of the Dining Room in the Travis House as it appeared in 1935. It is the twenty-sixth 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.
A popular restaurant for tourists in the 1930s, the Travis House stood for a period of time along Duke of Gloucester Street on the site formerly occupied by the Palace Theatre. Its menu featured dishes inspired by colonial recipes. The structure moved back to its original location at the northeast corner of Francis and Henry Streets in the early 1950s.
Colonel Edward Champion Travis built the home in 1765 and it acquired several additions as successive owners occupied the site. Travis served in the House of Burgesses and was its most prominent colonial occupant. The house became a residence for superintendents of Eastern State Hospital in the nineteenth and early twentieth centuries.
Eastern State Hospital turned the building over to the Williamsburg Restoration in 1929 and this led to its temporary move to Duke of Gloucester Street to become a restaurant between 1930-1951.
Publisher
An entity responsible for making the resource available
Pacific Stereopticon Co.
Date
A point or period of time associated with an event in the lifecycle of the resource
1935
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
Creator
An entity primarily responsible for making the resource
Lincoln, F.S.
Candlesticks
Ceramics
Chair Rails
Curtains
Dining Rooms
Fireplaces
Flatware
Glassware
Goblets
Inns
Lantern Slides
Mantels
Ordinaries
Pacific Stereopticon Company
Pewter
Plates
Platters
Portraits
Restaurants
Sconces
Side Chairs
Sideboard Tables
Sideboards
Tables
Taverns
Travis House
Valances
Virginia
Wainscotting
Williamsburg