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                  <text>Selections from the Postcard Collection</text>
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                  <text>The Postcard Collection housed at the John D. Rockefeller Jr. Library consists of postcards of Williamsburg and surrounding areas dating from the late 19th-century to the present. It includes examples of early postcards of the town prior to its restoration by John D. Rockefeller Jr. In addition, it encompasses many examples of official postcards produced by Colonial Williamsburg for tourists. A smaller number of postcards of neighboring historic sites, such as Jamestown and Yorktown, are also present.&#13;
&#13;
The selections included here are primarily vintage postcards of Colonial Williamsburg and surrounding tourist attractions ranging in date from 1898 to the 1950s.  Early cards in the collection illustrate a range of common postcard types and reproduction techniques. The history of the postcard's development as a souvenir, as well as the growth of tourism in Williamsburg, can be traced via Colonial Williamsburg's Postcard Collection.&#13;
&#13;
During what is known as the Pioneer Era from 1870-1898, the first form of postcard, featuring an illustration on one side and an undivided back on the other, did not allow the sender to include a note, unless it was written across a portion of the image on the front. The majority of pioneering postcard formats served as advertisements up until the 1893 Columbia Exposition, when postcards first appeared as souvenirs for Exposition visitors to purchase.&#13;
&#13;
The Private Mailing Card Era from 1898-1901 is characterized by cards printed with the notice "Private Mailing Card Authorized by Act of Congress on May 19, 1898." Backs of the cards remained undivided and purchasers could mail the cards for a cost of one cent. Several examples of postcards from this era are present in the collection. They include some of the earliest instances of souvenir cards created to promote Williamsburg historic sites, such as the Courthouse, Bruton Parish Church, the Powder Magazine, and the Capitol site. European rather than American printers created many of these postcards due to their superb skills. Chromo-lithograph cards of this era exhibit extremely rich colors.&#13;
&#13;
By the time the Jamestown Exposition took place in 1907, postcard production had entered the Divided Back Era, which continued until 1915. Modified postcard backs offered a segment on the left side for senders to pen a brief message. Production of cards gradually shifted to more American printers. The Jamestown Exposition provided a strong impetus for promotion of other historic sites that attendees might also stop at along the way. A series of postcards commemorating Williamsburg area historic sites in conjunction with the 1907 celebration are excellent examples of very early divided back cards.&#13;
&#13;
The Early Modern Era between 1916-1930 led to an increase in production of souvenir cards relating to the Williamsburg area. One type of format popular in this period is the "White Border Card" characterized by a view surrounded with a white border. Real photo cards also began to appear that featured photographs, rather than prints, of local surroundings. In the era before Colonial Williamsburg operated official gift shops, tourists counted on the Cole News Shop as their source for maps, postcards, travel guides, and souvenirs. Mr. Henry Dennison Cole served as the proprietor. His business stood on the site of the present day Taliaferro-Cole Shop. He produced his own postcards of historic sites in the area being restored by the Association for the Preservation of Virginia Antiquities and other groups of preservation minded citizens. Several examples of cards published by the Cole Shop can be found in the collection and offer a glimpse of attractions popular with early 20th-century tourists, such as the old Masonic Hall and Custis Kitchen.&#13;
&#13;
Once Colonial Williamsburg opened a core group of exhibition buildings to the public in the early 1930s, a new era dawned in which the museum began production of official postcards as souvenirs for visitors. Photographs by F.S. Lincoln, an architectural photographer hired on a contract basis in 1935 to take some of the first promotional photos of Colonial Williamsburg exhibition buildings, appeared on a number of real photo postcards issued in the late 1930s. Both examples of postcards bearing his photos, as well as his actual photograph collection, reside at the Rockefeller Library.&#13;
&#13;
The Albertype Company of Brooklyn, New York, produced one of the earliest official postcard series highlighting Colonial Williamsburg exhibition buildings, costumed interpreters, Williamsburg Inn and Lodge, and Merchants Square. In addition to holding numerous examples of Albertype cards, the Rockefeller Library also houses the corresponding photographic prints used to generate the postcards.  Albertype cards are characterized by sepia toned images that show exterior and interior views of exhibition buildings, as well as some of the earliest scenes of African Americans in costume demonstrating colonial cooking techniques.&#13;
&#13;
For further information about Williamsburg postcards, please consult:&#13;
&#13;
Preacher, Kristopher J. "Williamsburg in Vintage Postcards." Charleston: Arcadia Publishing, 2002.&#13;
&#13;
Reisweber, Kurt. "Williamsburg in Old Post Cards." Colonial Williamsburg XXI, No.2, (June/July 1999): 52-57.</text>
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                  <text>Postcards - Virginia - Williamsburg</text>
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                  <text>Souvenirs (Keepsakes) - Virginia - Williamsburg - Pictorial works</text>
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                <text>Duke of Gloucester Street, Merchants Square</text>
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                <text>Recto and verso of postcard titled, "New Shop Buildings, Williamsburg, Virginia." Text on verso reads:  "Part of the new business area erected to be in keeping with the restored area of the city." The Great Atlantic &amp; Pacific Tea Company food market is shown on the left.</text>
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                <text>Albertype Co.</text>
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                <text>D2021-COPY-1014-0087 R&#13;
D2021-COPY-1014-0088 V</text>
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                <text>Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation</text>
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                <text>Merchants Square (Williamsburg, Va.)</text>
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                  <text>John A. Barrows Photograph Collection</text>
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                  <text>BIOGRAPHICAL SKETCH&#13;
	John A. Barrows joined the staff of the Williamsburg office of Boston architects Perry, Shaw &amp; Hepburn as a draftsman in the early days of the restoration.  Remaining with them until his untimely death, Barrows assisted in the restoration of the College of William and Mary's Wren Building, and was involved with design work for the reconstructed Raleigh Tavern, Capitol, and Governor's Palace. In addition to his research and restoration work, John A. Barrows co-authored "The Domestic Colonial Architecture of Tidewater Virginia" with colleague Thomas Waterman.  &#13;
&#13;
	As part of his field research, Barrows--at the wheel of his 1928 Buick roadster "Lucy"--photographed numerous buildings and plantations throughout the Tidewater region, including sites in the now restored historic area of Williamsburg, Bacon's Castle, Cleve, Carter's Grove, King William Courthouse, Mt. Airy, Mt. Vernon, Rosewell, Stratford Hall, Sabine Hall, Shirley, Little England, the U.S. Capitol, and the British Embassy in Washington, D.C.  These photographs form the core of the collection. The John A. Barrows Photograph Collection is an important adjunct to existing groups of photographic documentation for buildings in Williamsburg's historic area and of Virginia architecture.&#13;
&#13;
SCOPE AND CONTENTS&#13;
&#13;
Black and white photographs, negatives, postcards, and miscellaneous items of Norfolk native John Alden Barrows (b. ca. 1905, d. 1931), architect for the Colonial Williamsburg Restoration. The photographs--some taken by Barrows, Thomas Waterman, Milton Grigg and others--remain in their original order, which follows a somewhat erratic alphabetical arrangement by site/subject.&#13;
	&#13;
The John A. Barrows Photograph Collection contains photoprints, taken mainly in Virginia and South Carolina, negatives, portraits, and personal papers and objects. The Photoprints series comprises the bulk of the collection, numbering close to 800 items. The photos, taken by architect and photographer John A. Barrows, display homes, churches, college buildings, and other structures along the eastern seaboard of the United States. Most of the photos were taken in Virginia and South Carolina, but other locations include New Jersey and Maryland. The prints were made in two sizes, 2.5x4 inches and 5x7 inches. The Negatives series has not been inventoried. John A. Barrows is the subject of the portraits found in the Portraits Series. The five images were all taken at different times. The final series, Personal Papers and Objects, includes some of Barrows' writings as well as memorabilia from trips and celebrations.</text>
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              <text>Gelatin silver print</text>
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                <text>Stringfellow House and Shop on the north side of the west end of Duke of Gloucester Street, Williamsburg, Virginia, prior to their demolition to allow for construction of the new shopping district today known as Merchants Square.&#13;
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                <text>John A. Barrows Photograph Collection, MS1996.22, Box 2</text>
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                <text>Bar-591. See also 1990-1049 CN.</text>
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	Nivison set up a small photographic studio in a room in the Bruton Parish House. His equipment included a Zeiss camera, 5x7 inch, with a F 4.5 lens and a special magazine for cut films, along with a Mitchell tripod with a ball and socket head. His darkroom equipment consisted of an Eastman Auto-focus Enlarger, printing machines, and various accessories such as tanks and scales. Over the course of five years, he took more than 7,000 photographs documenting each stage of the restoration or reconstruction of various 18th-century buildings in Williamsburg. Copies of these photographs were forwarded to the offices of Perry, Shaw, &amp; Hepburn in Boston so that the architects could monitor the progress of various projects. Nivison’s photographs were also used to produce postcards, “before and after” lantern slides, and publicity relating to the restoration of Williamsburg.&#13;
&#13;
	By late 1935, Nivison had started taking on a lot of outside photography business and Colonial Williamsburg officials felt he should establish himself as an independent photographer. Nivison’s employment with Colonial Williamsburg terminated on July 1, 1935. However, Colonial Williamsburg continued to utilize his services on an as needed basis and assisted him in setting up his own business in Williamsburg. Unfortunately, Nivison did not attract enough outside commissions to enable him to operate independently and filed for bankruptcy in 1937. He applied to Colonial Williamsburg for a monthly retainer fee for his periodic services and was given $100.00 per month to draw upon in 1938. With the advent of World War II, Nivison moved back to Massachusetts in 1940.&#13;
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&#13;
	Nivison set up a small photographic studio in a room in the Bruton Parish House. His equipment included a Zeiss camera, 5x7 inch, with a F 4.5 lens and a special magazine for cut films, along with a Mitchell tripod with a ball and socket head. His darkroom equipment consisted of an Eastman Auto-focus Enlarger, printing machines, and various accessories such as tanks and scales. Over the course of five years, he took more than 7,000 photographs documenting each stage of the restoration or reconstruction of various 18th-century buildings in Williamsburg. Copies of these photographs were forwarded to the offices of Perry, Shaw, &amp; Hepburn in Boston so that the architects could monitor the progress of various projects. Nivison’s photographs were also used to produce postcards, “before and after” lantern slides, and publicity relating to the restoration of Williamsburg.&#13;
&#13;
	By late 1935, Nivison had started taking on a lot of outside photography business and Colonial Williamsburg officials felt he should establish himself as an independent photographer. Nivison’s employment with Colonial Williamsburg terminated on July 1, 1935. However, Colonial Williamsburg continued to utilize his services on an as needed basis and assisted him in setting up his own business in Williamsburg. Unfortunately, Nivison did not attract enough outside commissions to enable him to operate independently and filed for bankruptcy in 1937. He applied to Colonial Williamsburg for a monthly retainer fee for his periodic services and was given $100.00 per month to draw upon in 1938. With the advent of World War II, Nivison moved back to Massachusetts in 1940.&#13;
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                  <text>A selection of photographs taken mostly before 1946 of Williamsburg buildings, events, and people by Richmond, Virginia photographer Frank Dementi and donated to Colonial Williamsburg in 1965. The nephew of Anthony L. Dementi, who founded the Dementi Studio in 1924, Frank Dementi graduated from the Winona School of Photography in Indiana. After working for several years with his brother, Tony Dementi, Frank started a position as a photo journalist with the Richmond News Leader where he worked alongside colleague Park Rouse who recalled "He liked action photography which involved movement, excitement, or even danger ."&#13;
&#13;
Soon after the outbreak of World War II, Dementi opened Colonial Studio in the Business Block at the West end of Duke of Gloucester Street in Williamsburg, Virginia on June 9, 1942. He focused primarily upon photographing soldiers and sailors stationed with military bases in the area but also took on a number of important assignments for Colonial Williamsburg and even took pictures of German prisoners of war. Two of his most exciting opportunities came when members of the Churchill family visited Williamsburg during and shortly after World War II.&#13;
&#13;
In 1945, Dementi relocated  his Colonial Studio, offering illustrative and portrait photography, to 9 East Grace Street in Richmond, Virginia, where he operated the business until his retirement in 1984. His early experimentation with color photography led him to win an award in 1955 for a composition set in Colonial Williamsburg that he titled "The Sabbath." Colonial Williamsburg's Director of Promotions, Thomas McCaskey, assisted him with arrangements for the photo shoot and praised the resulting scene of costumed interpreters positioned along Palace Street for  "...completely captur[ing] the charm and informality of historic Williamsburg." Throughout his career, he continued to document dignitaries, leaders, and celebrities who visited Virginia, shot numerous scenic views to support state tourism efforts, and continued to take many studio portraits. An engaging storyteller who put his subjects at ease, Frank participated in significant historical events and met many interesting personalities as he built his business. &#13;
&#13;
Over the course of his career, Dementi completed numerous photo shoots at Colonial Williamsburg, ranging from special events and exhibition building openings to the visits of Clementine and Sarah Churchill in September 1943 and Winston Churchill and Dwight D. Eisenhower on March 8, 1946. Mary Churchill, a subaltern in the British Army, took a break from her duties serving as her father’s aide-de-camp during the U.S. visit to accompany her mother on an impromptu trip to Williamsburg organized by the British Embassy. The two started their morning at the Williamsburg Inn, where they met Vernon Geddy, First Vice-President of Colonial Williamsburg, who served as their escort, and local photographer Frank Dementi, who operated Colonial Studio in Williamsburg from 1942-1945. Lord Moran, Winston Churchill’s private physician, and two aides from the White House also accompanied the party.  During a guided tour of selected exhibition buildings, including the Governor’s Palace, where costumed interpreter Midge Adolph greeted the women, Clementine and Mary learned about the former British capital. A luncheon at the Travis House Restaurant allowed the group to sample some of the famous scalloped oysters and other fare that won rave reviews from many military and diplomatic guests. Mary Churchill remarked to Vernon Geddy that her post-war plans needed to include a two week stay in Williamsburg. During their “flying visit” to Williamsburg, as Mary Churchill described it, the two learned of Italy’s surrender to the Allies while touring the Raleigh Tavern. It proved to be a momentous day for wartime Williamsburg and one memorialized by Frank Dementi in a series of photo albums he later sent for presentation to the Churchill family.&#13;
&#13;
&#13;
During his 1946 tour of the United States with General Dwight D. Eisenhower, Sir Winston Churchill made plans to visit Colonial Williamsburg, now twelve years old after the opening of its Historic Area. Mr. Churchill and General Eisenhower arrived by a special train on Friday, March 8, 1946. Their party enjoyed a tour of the Historic Area, followed by a visit to the Wren Building at the College of William and Mary. During their carriage ride, the horses were frightened and the tour continued by car. General Eisenhower recalled how “Sir Winston didn’t pay any attention [to the frightened horses], he just lit his cigar.”&#13;
After the tour, Mr. Churchill and General Eisenhower were invited to tea at Raleigh Tavern by Mr. Kenneth Chorley, President of the Colonial Williamsburg Foundation, where Frank Dementi had the singular honor of being the only photographer allowed in to capture images of the event. The party proceeded to dinner at the Williamsburg Inn. Sir Winston Churchill graced Colonial Williamsburg with an eloquent speech at dinner, concluding with a generous wish: “Long may Colonial Williamsburg flourish! Firm may be the links which it may forge with our past, and may those links of distant by-gone days be reinforced by new links and new bonds which will reach across the ocean and join our two peoples together.”&#13;
&#13;
Frank Dementi's Williamsburg photos constitute the subject matter of this collection while over 70,000 photos relating to the broader history of Richmond and the state of Virginia reside with the Valentine Museum. Members of the Dementi family hold the remainder of his photographic legacy.</text>
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	Nivison set up a small photographic studio in a room in the Bruton Parish House. His equipment included a Zeiss camera, 5x7 inch, with a F 4.5 lens and a special magazine for cut films, along with a Mitchell tripod with a ball and socket head. His darkroom equipment consisted of an Eastman Auto-focus Enlarger, printing machines, and various accessories such as tanks and scales. Over the course of five years, he took more than 7,000 photographs documenting each stage of the restoration or reconstruction of various 18th-century buildings in Williamsburg. Copies of these photographs were forwarded to the offices of Perry, Shaw, &amp; Hepburn in Boston so that the architects could monitor the progress of various projects. Nivison’s photographs were also used to produce postcards, “before and after” lantern slides, and publicity relating to the restoration of Williamsburg.&#13;
&#13;
	By late 1935, Nivison had started taking on a lot of outside photography business and Colonial Williamsburg officials felt he should establish himself as an independent photographer. Nivison’s employment with Colonial Williamsburg terminated on July 1, 1935. However, Colonial Williamsburg continued to utilize his services on an as needed basis and assisted him in setting up his own business in Williamsburg. Unfortunately, Nivison did not attract enough outside commissions to enable him to operate independently and filed for bankruptcy in 1937. He applied to Colonial Williamsburg for a monthly retainer fee for his periodic services and was given $100.00 per month to draw upon in 1938. With the advent of World War II, Nivison moved back to Massachusetts in 1940.&#13;
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                  <text>Todd and Brown, Incorporated, a subsidiary firm of Todd, Robertson and Todd Engineering Corporation, headquartered in New York City, entered into a contract with the Williamsburg Holding Corporation on June 6, 1928. The engineers and contractors carried out work as directed by the architects and landscape architects on the reconstruction and restoration of historic structures and gardens in Williamsburg, Virginia. Mr. Webster B. Todd and Mr. J.O. Brown served as the principals of Todd and Brown, Incorporated. They appointed Robert Trimble to head the firm's Williamsburg office. Between 1928 and 1934, the Williamsburg crew undertook many different construction tasks in support of the museum's development and the relocation of the town's business district to Merchants Square. The Williamsburg office closed in 1934, when Williamsburg Restoration Inc. established its own Construction and Maintenance Department. However, the firm continued to be involved in a supervisory capacity with the building of the Williamsburg Inn from 1936 to 1938.&#13;
&#13;
The Todd and Brown Inc. Photograph Collection, AV2010.3, encompasses over eight hundred negatives and their corresponding photographic prints housed in an album. Systematic examination of the town and extensive planning occurred before the contractors began their assignment to demolish or move buildings not dating to the colonial era. Each photograph they took served a documentary purpose of recording a colonial structure, modern dwelling, business, church, municipal building, or outbuilding as it appeared prior to any work proceeding at a site. The collection is thus a significant archive of the many homes, grocery stores, general stores, gas stations, barber shops, banks, and offices that once stretched up and down Duke of Gloucester Street.  It also offers many pre-restoration views of eighteenth-century buildings that had undergone modifications by later residents. A selection of images offers views of early progress on the reconstruction of such public buildings as the Capitol and Raleigh Tavern.</text>
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&#13;
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&#13;
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                <text>TB400</text>
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                <text>Special Collections, John D. Rockefeller Jr. Library, The Colonial Williamsburg Foundation</text>
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        <name>American Restaurant</name>
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        <name>Pender's Grocery</name>
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        <name>Signs</name>
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        <name>Store Windows</name>
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        <name>Todd and Brown Inc.</name>
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                  <text>Brown, J.O.</text>
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                  <text>Todd and Brown, Incorporated, a subsidiary firm of Todd, Robertson and Todd Engineering Corporation, headquartered in New York City, entered into a contract with the Williamsburg Holding Corporation on June 6, 1928. The engineers and contractors carried out work as directed by the architects and landscape architects on the reconstruction and restoration of historic structures and gardens in Williamsburg, Virginia. Mr. Webster B. Todd and Mr. J.O. Brown served as the principals of Todd and Brown, Incorporated. They appointed Robert Trimble to head the firm's Williamsburg office. Between 1928 and 1934, the Williamsburg crew undertook many different construction tasks in support of the museum's development and the relocation of the town's business district to Merchants Square. The Williamsburg office closed in 1934, when Williamsburg Restoration Inc. established its own Construction and Maintenance Department. However, the firm continued to be involved in a supervisory capacity with the building of the Williamsburg Inn from 1936 to 1938.&#13;
&#13;
The Todd and Brown Inc. Photograph Collection, AV2010.3, encompasses over eight hundred negatives and their corresponding photographic prints housed in an album. Systematic examination of the town and extensive planning occurred before the contractors began their assignment to demolish or move buildings not dating to the colonial era. Each photograph they took served a documentary purpose of recording a colonial structure, modern dwelling, business, church, municipal building, or outbuilding as it appeared prior to any work proceeding at a site. The collection is thus a significant archive of the many homes, grocery stores, general stores, gas stations, barber shops, banks, and offices that once stretched up and down Duke of Gloucester Street.  It also offers many pre-restoration views of eighteenth-century buildings that had undergone modifications by later residents. A selection of images offers views of early progress on the reconstruction of such public buildings as the Capitol and Raleigh Tavern.</text>
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                  <text>Special Collections, John D. Rockefeller Jr. Library, The Colonial Williamsburg Foundation</text>
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      <name>Still Image</name>
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              <text>Gelatin silver print</text>
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            <name>Title</name>
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            <name>Subject</name>
            <description>The topic of the resource</description>
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            <name>Creator</name>
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