2 20 87 https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/631c9e6cb2d1c4a3645be63bc983c357.jpg?Expires=1780531200&Signature=nxkP5oYKQO1uX-3m2RoQEzpq6R99UE9X5Swf9hscBfvuhAu-9clnS2aORQ90BfuiIvR0tPyozbnRqsyZQgasEt6Pzqndj2UkLwX7VZzXVVNnPLx-BbdszjZeYdKMO37gcu5eiUXBkg4nKisQX-m09D377PkQNadkKZzMBFMuSZdcLmehDMnAtertuNQaxctpsrXEhkxGA49yEzubAg-9HfJzPyGCeTtwhmSjlQvDLzVeyj85kEAnnhlvbbacCvUxVWZWu9uPB5U4azRuOIVxQ1CIF8AdqNvdQi-5LjgS6%7EWkZNKeefG-xXGSo5pkuRQIfodhUHoYYxhH%7E4FP4o2L7g__&Key-Pair-Id=K6UGZS9ZTDSZM 745a775423e80b12583f51f0cd92a85a 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 1022 IPTC Array a:5:{s:7:"caption";s:157:"Recto of postcard depicting a dining room in the Richard Bland Tavern, Williamsburg, Va., published by The Collotype co., ca.1930s, accession # AV-2001.9, 3.";s:14:"caption_writer";s:15:"Marianne Martin";s:11:"object_name";s:17:"AV-2001-R-09-03-R";s:7:"keyword";s:66:"Richard Bland Tavern, Wetherburn's Tavern, Dining Rooms, Postcards";s:16:"copyright_notice";s:91:"Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation";} IPTC String caption:Recto of postcard depicting a dining room in the Richard Bland Tavern, Williamsburg, Va., published by The Collotype co., ca.1930s, accession # AV-2001.9, 3. caption_writer:Marianne Martin object_name:AV-2001-R-09-03-R keyword:Richard Bland Tavern, Wetherburn's Tavern, Dining Rooms, Postcards copyright_notice:Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation Width 1590 https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/9709540c3cb626ddfa8f9914d7652817.jpg?Expires=1780531200&Signature=uP%7EFrE7h%7EaT9GotMex-hj-s-A3CyJtV9Q2chh8ZuqvchZJIpLrrgEe-76ErD0lEZW-j47bpCud1JKPyKv5dRgVQQy178%7EsSE37ALXPRT6HYIgUEnPxRS8YR8OTCSJbiUcsZbPlCBoSOoKyvTy-0BFFJEiiW%7EIJl1dkAEyR6kIkc214txUcTgs5vsM%7Edlzm3eRc74WNXnyjKJ3IznhwZlQl84dveVODCM9KnO-5QpIWhNc8O65AZiXf48fXGFOSzuvZqG-FNica0fTf00oNpwF8RaovOtgPm0P6Rf5MIvsQSQeG%7Er1refhjqXNzQJU0lj7CBMCqAzhfIVKQHXq4ivEQ__&Key-Pair-Id=K6UGZS9ZTDSZM b24081acf8eac55977bbc8b9f92a0bd0 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 1029 IPTC Array a:5:{s:7:"caption";s:157:"Verso of postcard depicting a dining room in the Richard Bland Tavern, Williamsburg, Va., published by The Collotype co., ca.1930s, accession # AV-2001.9, 3.";s:14:"caption_writer";s:15:"Marianne Martin";s:11:"object_name";s:15:"AV-2001-09-03-V";s:7:"keyword";s:66:"Richard Bland Tavern, Wetherburn's Tavern, Dining Rooms, Postcards";s:16:"copyright_notice";s:91:"Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation";} IPTC String caption:Verso of postcard depicting a dining room in the Richard Bland Tavern, Williamsburg, Va., published by The Collotype co., ca.1930s, accession # AV-2001.9, 3. caption_writer:Marianne Martin object_name:AV-2001-09-03-V keyword:Richard Bland Tavern, Wetherburn's Tavern, Dining Rooms, Postcards copyright_notice:Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation Width 1629 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Selections from the Postcard Collection Description An account of the resource The Postcard Collection housed at the John D. Rockefeller Jr. Library consists of postcards of Williamsburg and surrounding areas dating from the late 19th-century to the present. It includes examples of early postcards of the town prior to its restoration by John D. Rockefeller Jr. In addition, it encompasses many examples of official postcards produced by Colonial Williamsburg for tourists. A smaller number of postcards of neighboring historic sites, such as Jamestown and Yorktown, are also present. The selections included here are primarily vintage postcards of Colonial Williamsburg and surrounding tourist attractions ranging in date from 1898 to the 1950s. Early cards in the collection illustrate a range of common postcard types and reproduction techniques. The history of the postcard's development as a souvenir, as well as the growth of tourism in Williamsburg, can be traced via Colonial Williamsburg's Postcard Collection. During what is known as the Pioneer Era from 1870-1898, the first form of postcard, featuring an illustration on one side and an undivided back on the other, did not allow the sender to include a note, unless it was written across a portion of the image on the front. The majority of pioneering postcard formats served as advertisements up until the 1893 Columbia Exposition, when postcards first appeared as souvenirs for Exposition visitors to purchase. The Private Mailing Card Era from 1898-1901 is characterized by cards printed with the notice "Private Mailing Card Authorized by Act of Congress on May 19, 1898." Backs of the cards remained undivided and purchasers could mail the cards for a cost of one cent. Several examples of postcards from this era are present in the collection. They include some of the earliest instances of souvenir cards created to promote Williamsburg historic sites, such as the Courthouse, Bruton Parish Church, the Powder Magazine, and the Capitol site. European rather than American printers created many of these postcards due to their superb skills. Chromo-lithograph cards of this era exhibit extremely rich colors. By the time the Jamestown Exposition took place in 1907, postcard production had entered the Divided Back Era, which continued until 1915. Modified postcard backs offered a segment on the left side for senders to pen a brief message. Production of cards gradually shifted to more American printers. The Jamestown Exposition provided a strong impetus for promotion of other historic sites that attendees might also stop at along the way. A series of postcards commemorating Williamsburg area historic sites in conjunction with the 1907 celebration are excellent examples of very early divided back cards. The Early Modern Era between 1916-1930 led to an increase in production of souvenir cards relating to the Williamsburg area. One type of format popular in this period is the "White Border Card" characterized by a view surrounded with a white border. Real photo cards also began to appear that featured photographs, rather than prints, of local surroundings. In the era before Colonial Williamsburg operated official gift shops, tourists counted on the Cole News Shop as their source for maps, postcards, travel guides, and souvenirs. Mr. Henry Dennison Cole served as the proprietor. His business stood on the site of the present day Taliaferro-Cole Shop. He produced his own postcards of historic sites in the area being restored by the Association for the Preservation of Virginia Antiquities and other groups of preservation minded citizens. Several examples of cards published by the Cole Shop can be found in the collection and offer a glimpse of attractions popular with early 20th-century tourists, such as the old Masonic Hall and Custis Kitchen. Once Colonial Williamsburg opened a core group of exhibition buildings to the public in the early 1930s, a new era dawned in which the museum began production of official postcards as souvenirs for visitors. Photographs by F.S. Lincoln, an architectural photographer hired on a contract basis in 1935 to take some of the first promotional photos of Colonial Williamsburg exhibition buildings, appeared on a number of real photo postcards issued in the late 1930s. Both examples of postcards bearing his photos, as well as his actual photograph collection, reside at the Rockefeller Library. The Albertype Company of Brooklyn, New York, produced one of the earliest official postcard series highlighting Colonial Williamsburg exhibition buildings, costumed interpreters, Williamsburg Inn and Lodge, and Merchants Square. In addition to holding numerous examples of Albertype cards, the Rockefeller Library also houses the corresponding photographic prints used to generate the postcards. Albertype cards are characterized by sepia toned images that show exterior and interior views of exhibition buildings, as well as some of the earliest scenes of African Americans in costume demonstrating colonial cooking techniques. For further information about Williamsburg postcards, please consult: Preacher, Kristopher J. "Williamsburg in Vintage Postcards." Charleston: Arcadia Publishing, 2002. Reisweber, Kurt. "Williamsburg in Old Post Cards." Colonial Williamsburg XXI, No.2, (June/July 1999): 52-57. Subject The topic of the resource Postcards - Virginia - Williamsburg Souvenirs (Keepsakes) - Virginia - Williamsburg - Pictorial works Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Postcard Physical Dimensions The actual physical size of the original image. 3 x 5 inches Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Dining Room, Richard Bland Tavern Description An account of the resource Recto and verso of a postcard depicting a sideboard in the Dining Room of the Richard Bland Tavern published by The Collotype Co. A wall hanging with a blessing written by Robert Burns served as a distinctive feature of the room. Early visitors to Colonial Williamsburg could dine, lodge, and purchase souvenirs and antiques at the Richard Bland Tavern. This postcard formed part of a set that visitors most likely could find in the tavern gift shop. Creator An entity primarily responsible for making the resource The Collotype Co. Date A point or period of time associated with an event in the lifecycle of the resource ca. 1930s Rights Information about rights held in and over the resource This material is protected by copyright law (Title 17, U.S. Code). For reproduction queries: <a href="http://research.history.org/JDRLibrary/Visual_Resources/VisualResourcePermission.cfm">Rights and reproductions</a> Is Part Of A related resource in which the described resource is physically or logically included. Postcard Collection Format The file format, physical medium, or dimensions of the resource jpeg Type The nature or genre of the resource Image Identifier An unambiguous reference to the resource within a given context AV2001-09-03-R Rights Holder A person or organization owning or managing rights over the resource. Special Collections, John D. Rockefeller Jr. Library, The Colonial Williamsburg Foundation Bells Blessings Dining Rooms High Chairs Ladder Back Chairs Pewter Plates Postcards Richard Bland Tavern Robert Burns Sconces Sideboards Taverns Tea Tables Virginia Wetherburn's Tavern Williamsburg https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/314a0c427debde4a243b0800592ed3cd.jpg?Expires=1780531200&Signature=RTvRI1nHLRqBfFpAKdS7c-Uidvr3m9AZcb6gtxZbR63xtDLSJOWd61-yNm5UPkrQxPJvwiBOmiSVjNMmaEV0h8G2ICaORLpMPKEn%7EzHDTaeMopVLUa60E-mf0l2C2g9qm-UzbBnsXr63DnN699GYW3hsgefPeuUsQ7dHZ06971EjNPyfsdt9PFD1yuC2e8YXbbWylDtmE1so6rHaYL4KCi7mPHU0pwXcaijv5-n-2IYEaPKhts6ScvFdC5rNlWH3Li1PioVH2zm9hK3gknBOHvvL752QHV2Uhw3dSPNpmyN0LbJupnyTyP8w04hkQ9DPF%7EFq4YrasMlt3H%7E56Olgfw__&Key-Pair-Id=K6UGZS9ZTDSZM 8bbcca0f4af8e72b448f807a4ebaf1bf 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 Ernest M. Frank Photograph Collection Subject The topic of the resource Frank, Ernest M., 1914-1968 Photograph albums Williamsburg (Va.) - Photographs Architecture, Domestic - Virginia - Williamsburg Public buildings - Virginia - Williamsburg Historic buildings - Virginia - Williamsburg Williamsburg (Va.) - Buildings, structures, etc. Description An account of the resource Ernest Maurice Frank, a graduate of Cornell University, rose from the ranks of Draftsman to Assistant Vice-President over the course of a three-decade career at Colonial Williamsburg. During the late 1930s, a team of architects drafted plans to fill in the gaps with reconstruction or restoration of structures not included in the initial group completed in the early 1930s. Known as “Phase II” in Colonial Williamsburg’s evolution, the period launched an expansion of plans for future projects at sites such as the George Wythe and Peyton Randolph Houses, many of which became reality after the end of World War II. Singleton P. Moorehead, an architect who joined the Restoration team in 1928 and became part of the architectural office in 1934, and A.E. Kendrew, Foundation Architect, proved to be pivotal in moving Colonial Williamsburg forward with the Phase II transition. They hired Ernest Frank in 1939 to join their team of draftsmen beginning work on Phase II planning. Unfortunately, World War II intervened, and Frank and many other employees left the organization to fulfill their military duties in 1942. Frank re-joined Colonial Williamsburg in 1946 and established his own architectural practice in Williamsburg on the side in 1947. He rapidly advanced to Senior Draftsmen in 1947, Designer in 1948, and assumed the position of Assistant Director of the Architecture, Construction, and Maintenance Division from 1949-1956. In 1957, he became Director of the division until 1964, when he received a promotion to Assistant Vice-President for Colonial Williamsburg Inc. under Charles Hackett. One of Frank’s major projects involved overseeing the reconstruction of additional eighteenth-century features of the Robert Carter House complex. He and his team researched and designed the two long covered ways connecting outbuildings to the main house, as well as Dr. McKenzie’s Shop and several outbuildings. His architectural drawings for the Powder Magazine and Guardhouse, Bryan House, Ewing House, John Crump House, and the new Visitor’s Center complex and Motor House all attest to his extensive contributions. A member of the American Institute of Architects, Frank regularly spoke at architectural forums and design schools and became a recognized authority on colonial Virginian architecture. In his final years at Colonial Williamsburg, Frank served as a deputy to Charles Hackett, who led Colonial Williamsburg Inc. and Williamsburg Restoration Inc., until his death in 1968. A record of Frank’s meticulous research conducted as part of the process of developing designs for reconstructions can be found in the Ernest M. Frank Photograph Collection, AV2009.58, housed at the Rockefeller Library. Frank joined other members of the architectural team in the late 1940s and early 1950s in a series of trips throughout the mid-Atlantic region and to Great Britain to visit sites and record details that might be used as precedents for features of buildings planned for reconstruction. The team had to engage in a certain amount of educated guesswork for certain features of structures for which they could not find archaeological, historical, or visual evidence. A series of ten photo albums encompasses images from the late 1940s to early 1950s of sites at Colonial Williamsburg, various counties in Virginia, Maryland, North Carolina, and South Carolina, and Great Britain. The two albums focusing upon his 1951 trip to England are organized by various types of details under study, such as lamp brackets, signs, shop windows, foot scrapers, chimneys, gates, and fences. Together, the photo albums offer insight into the process used to gather clues for drafting designs for some of the buildings that constitute the second phase of Colonial Williamsburg’s development after World War II. Creator An entity primarily responsible for making the resource Frank, Ernest Maurice Is Part Of A related resource in which the described resource is physically or logically included. Ernest M. Frank Photograph Collection, AV2009.58 Rights Holder A person or organization owning or managing rights over the resource. Special Collections, John D. Rockefeller Jr. Library, The Colonial Williamsburg Foundation. Extent The size or duration of the resource. Ten albums Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Gelatin silver print on paper 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 English Pub Description An account of the resource View of a truck unloading supplies outside a pub with outsize bargeboards and a roff kick in an unidentified location in England. Identifier An unambiguous reference to the resource within a given context AV2009-58-A09-FRA015_002 Creator An entity primarily responsible for making the resource Frank. Ernest M. Subject The topic of the resource Taverns (Inns) - England Public buildings - England Is Part Of A related resource in which the described resource is physically or logically included. Ernest M. Frank Photograph Collection, AV2009.58, Album 9, Page 15 Format The file format, physical medium, or dimensions of the resource jpeg Extent The size or duration of the resource. 1 photograph 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. Bargeboards England Ernest Frank Signs Taverns Trucks https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/73328bc4088cee5830ee5802f77f0397.jpg?Expires=1780531200&Signature=YBNw91drgfnoLWRdFXelAQoO9%7EBAQCyWIVOqg5KwqPWGsPxfQuR4JWa66MkvB-WdiIA8QxM7WhUNjO-7rOCNHcldxCdy-x6mdXUXGwAzLGjgnIpx6ZbIB-xvERjK5Rq7XSAfU56sOb9SFf2DISI-Y78MeaN5YjER5IQwVWVdqGkRb6Fc31OdM3QV6Pn7Su%7EV1vQQDvxWZfAoVCiPRNO2v151B8VmuvT6Lwe23dtUeXMEYeq0OIlcVawaCEbSYRzv0Q8OIk80iBIyytPeV4F0cBOBrtTa%7EDK0cIX6fp-tvOijkuYI9z4ZkespA%7Ez1ptfTsjlGEqvngy72OfQ1fYitYA__&Key-Pair-Id=K6UGZS9ZTDSZM 742b5bda7261a43db339138d14b679f2 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pacific Stereopticon Company Lantern Slides Description An account of the resource Produced by the Pacific Stereopticon Company of Los Angeles, this collection of forty-five lantern slides depicts individuals involved in the restoration of Williamsburg, as well as some of the restored buildings. The slides are a mixture of black and white and color images taken by various photographers in the late 1930s. Many are copies based upon photos taken by contract professionals hired to document the appeal of the architecture and landscapes of Colonial Williamsburg. Several of the black and white slides are derived from photos taken by noted architectural photographer F.S. Lincoln, whose collection is also available for viewing on this site. The lantern slides are significant because they document early efforts to publicize the newly opened museum. California architect Reginald Davis Johnson utilized the set to lecture to students and colleagues about the massive efforts undertaken to bring Williamsburg's historic district back to its 18th-century appearance. Noted for his contributions to the development of the Spanish-Southern California architecture of Santa Barbara, Reginald Davis Johnson resided in Pasadena and operated an architectural design studio. Some of his best known projects include the Santa Barbara Biltmore Hotel, the Santa Barbara Post Office, and the Harbor Hills, Rancho San Pedro, and Baldwin Hills communities in Los Angeles. A precursor of 35mm slides, lantern slides are large format positive transparencies, usually 3.25 x 4 inches, sandwiched between two pieces of glass. Many were hand-colored. A projector allowed the slides to be viewed on a wall or screen. Instead of automatically advancing from one slide to the next, the lantern slides had to be manually placed into a slot on the projector. Invented in 1848, lantern slides evolved from those associated with magic lanterns in the late 19th-century to the format represented in this collection. Between 1848-1870, oil lamps served as the light source for magic lantern projectors. By the 1890s, the carbon arc lamp offered a better lighting method. The introduction of electricity in the 20th-century allowed the projection of lantern slides to become common in schools and universities. Lantern slides became obsolete in the 1950s when the Kodachrome three-color process brought about the introduction of 35mm slides. Subject The topic of the resource Pacific Stereopticon Co. Lantern slides - Hand-colored - 1930-1940 Johnson, Reginald Davis, 1882-1952 Creator An entity primarily responsible for making the resource Pacific Stereopticon Co. Date A point or period of time associated with an event in the lifecycle of the resource ca. 1935 Format The file format, physical medium, or dimensions of the resource jpeg Type The nature or genre of the resource Image Rights Holder A person or organization owning or managing rights over the resource. Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Lantern slide Physical Dimensions The actual physical size of the original image. 2 x 3 inches Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Fireplace Detail : Daphne Room Subject The topic of the resource Raleigh Tavern (Williamsburg, Va.) Taverns (Inns) - Virginia - Williamsburg Block 17. Building 06. Furniture - Virginia - Williamsburg Description An account of the resource Lantern slide featuring photo taken by F.S. Lincoln looking towards the fireplace in the Daphne Room of the Raleigh Tavern, 1935. It is the thirty-first 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. 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. In anticipation of guests' needs, a bottle case or cellaret (accession # 1930-58) 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 Imaginary Landscape (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. Publisher An entity responsible for making the resource available Pacific Stereopticon Co. Identifier An unambiguous reference to the resource within a given context PSC-031 Rights Holder A person or organization owning or managing rights over the resource. Special Collections, John D. Rockefeller Jr. Library, The Colonial Williamsburg Foundation 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. Armchairs Candlesticks Cellarets Ceramics Chair Rails Chairs Cruets Daphne Room Dentils Dining Rooms F.S. Lincoln Firedogs Fireplaces Flatware Inns Lantern Slides Looking Glasses Mantels Mirrors Ordinaries Pacific Stereopticon Company Paintings Raleigh Tavern Salt Cellars Sconces Side Chairs Silver Tables Taverns Virginia Wainscotting Wallpaper Williamsburg https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/ec89e6103f033d2561a49843d830527d.jpg?Expires=1780531200&Signature=UPFfAEwEeuh7CZmsTZTUx0JPtDMhWoUh-fZVCHJLUSI8R4RB17DkC0PqYlBGf21jVl5R0Mxc149ns6BdBHsgHokfUkzlpX2KA%7EytE9N2RqELDaLnMy6tYnqoareJpXe9MhdP9fFhExfB%7ExkWWufJvfk3mKsIfqwjJLxLTWLS2pSFjqkpqmuJjWHA2bIure-bdRFz1cBZcr7H2swwGkzCnLgvhW%7Ey4fc%7E0vBGPSAo99AYYxtxLFSk3Ij04Y8M8qQZ9HVZbUgNsZzgtT9H9b0TPUPKkEpJ%7Eph2p-Npj5ktOpATXIjQ9l7quJSbLrFwxBOMa4VnhrV8zvCc5u1BHRXMbQ__&Key-Pair-Id=K6UGZS9ZTDSZM b0a122c3874a8d91930e11aa3a022bcd 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 610 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 &amp; 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 &amp; Walker, McKim, Mead, &amp; 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 Fireplace, Great Room, Market Square Tavern Subject The topic of the resource Market Square Tavern (Williamsburg, Va.) Block 12. Building 13. Historic buildings - Virginia - Williamsburg Taverns - Virginia - Williamsburg Description An account of the resource <p>Detail photo of fireplace in the Great Room of the Market Square Tavern taken by F.S. Lincoln, 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. </p> <p>In the 1930s, guests to 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. A cozy corner of the room for reading or resting centered around a paneled fireplace. A painting from the collection of Abby Aldrich Rockefeller, titled <strong><em><a href="http://emuseum.history.org/view/objects/asitem/items$0040:58099#.UvP1u-yPz_8.google">Girl with Dove (accession # 1933.100.3)</a></em></strong>, decorated the wall above the mantel.</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 LC328P4 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 Candlesticks Easy Chairs Firedogs Fireplaces Floor Coverings Folk Art Furnishings Girl with Dove Great Room Historic Buildings Inns Mantels Market Square Tavern Paintings Portraits Rugs Side Tables Taverns Virginia Williamsburg https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/656c5cdbe728f560d324b66ebf381b0c.jpg?Expires=1780531200&Signature=S%7Ez%7EraLxHx4IC8v7lwS7Y%7EMGnZdmCe5knMKbdhJG1qnpAcd24a9H7cjZMWQtWmPOqIyNg5w8tEkFOStwUyd0c9G-HUQYN1btdUSQP5mFP1q0JBOPF-Pf3QhD5dCK1y4RMYQzyM39%7EcNSHBnP7czfDaRT4pNC7Nwe7g-OyAM5OCvRN0yR7g6bXiDWhLdvjttzC4xZfB4WE3elFEhyA5ZaK1jmWsfnRKE8P7-tKfd08kdQgKeQ9OXUvX7yhYzn1Kek1Dpp6jSd3Xdh73ib7ZzsRnYYSUuMQt2B9e5wzJqhgB6-fE2RTqwKrb9cbR0QsLXf5sVEZjg7DUPdw3wbZrKSmg__&Key-Pair-Id=K6UGZS9ZTDSZM a5939ae6d8c6ce9ab0598a4308daf829 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 Ernest M. Frank Photograph Collection Subject The topic of the resource Frank, Ernest M., 1914-1968 Photograph albums Williamsburg (Va.) - Photographs Architecture, Domestic - Virginia - Williamsburg Public buildings - Virginia - Williamsburg Historic buildings - Virginia - Williamsburg Williamsburg (Va.) - Buildings, structures, etc. Description An account of the resource Ernest Maurice Frank, a graduate of Cornell University, rose from the ranks of Draftsman to Assistant Vice-President over the course of a three-decade career at Colonial Williamsburg. During the late 1930s, a team of architects drafted plans to fill in the gaps with reconstruction or restoration of structures not included in the initial group completed in the early 1930s. Known as “Phase II” in Colonial Williamsburg’s evolution, the period launched an expansion of plans for future projects at sites such as the George Wythe and Peyton Randolph Houses, many of which became reality after the end of World War II. Singleton P. Moorehead, an architect who joined the Restoration team in 1928 and became part of the architectural office in 1934, and A.E. Kendrew, Foundation Architect, proved to be pivotal in moving Colonial Williamsburg forward with the Phase II transition. They hired Ernest Frank in 1939 to join their team of draftsmen beginning work on Phase II planning. Unfortunately, World War II intervened, and Frank and many other employees left the organization to fulfill their military duties in 1942. Frank re-joined Colonial Williamsburg in 1946 and established his own architectural practice in Williamsburg on the side in 1947. He rapidly advanced to Senior Draftsmen in 1947, Designer in 1948, and assumed the position of Assistant Director of the Architecture, Construction, and Maintenance Division from 1949-1956. In 1957, he became Director of the division until 1964, when he received a promotion to Assistant Vice-President for Colonial Williamsburg Inc. under Charles Hackett. One of Frank’s major projects involved overseeing the reconstruction of additional eighteenth-century features of the Robert Carter House complex. He and his team researched and designed the two long covered ways connecting outbuildings to the main house, as well as Dr. McKenzie’s Shop and several outbuildings. His architectural drawings for the Powder Magazine and Guardhouse, Bryan House, Ewing House, John Crump House, and the new Visitor’s Center complex and Motor House all attest to his extensive contributions. A member of the American Institute of Architects, Frank regularly spoke at architectural forums and design schools and became a recognized authority on colonial Virginian architecture. In his final years at Colonial Williamsburg, Frank served as a deputy to Charles Hackett, who led Colonial Williamsburg Inc. and Williamsburg Restoration Inc., until his death in 1968. A record of Frank’s meticulous research conducted as part of the process of developing designs for reconstructions can be found in the Ernest M. Frank Photograph Collection, AV2009.58, housed at the Rockefeller Library. Frank joined other members of the architectural team in the late 1940s and early 1950s in a series of trips throughout the mid-Atlantic region and to Great Britain to visit sites and record details that might be used as precedents for features of buildings planned for reconstruction. The team had to engage in a certain amount of educated guesswork for certain features of structures for which they could not find archaeological, historical, or visual evidence. A series of ten photo albums encompasses images from the late 1940s to early 1950s of sites at Colonial Williamsburg, various counties in Virginia, Maryland, North Carolina, and South Carolina, and Great Britain. The two albums focusing upon his 1951 trip to England are organized by various types of details under study, such as lamp brackets, signs, shop windows, foot scrapers, chimneys, gates, and fences. Together, the photo albums offer insight into the process used to gather clues for drafting designs for some of the buildings that constitute the second phase of Colonial Williamsburg’s development after World War II. Creator An entity primarily responsible for making the resource Frank, Ernest Maurice Is Part Of A related resource in which the described resource is physically or logically included. Ernest M. Frank Photograph Collection, AV2009.58 Rights Holder A person or organization owning or managing rights over the resource. Special Collections, John D. Rockefeller Jr. Library, The Colonial Williamsburg Foundation. Extent The size or duration of the resource. Ten albums Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Gelatin silver print on paper 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 Griffin Hotel Description An account of the resource View looking across a street towards the Griffin Hotel in an unidentified location in England. Identifier An unambiguous reference to the resource within a given context AV2009-58-A09-FRA014_004 Creator An entity primarily responsible for making the resource Frank. Ernest M. Date A point or period of time associated with an event in the lifecycle of the resource 1951 Is Part Of A related resource in which the described resource is physically or logically included. Ernest M. Frank Photograph Collection, AV2009.58, Album 9, Page 14 Format The file format, physical medium, or dimensions of the resource jpeg Extent The size or duration of the resource. 1 photograph 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 Subject The topic of the resource Taverns (Inns) - England Public buildings - England Automobiles England Ernest Frank Hotels Signs Taverns https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/7b822a19fa99ed49f4c65d11251a149b.jpg?Expires=1780531200&Signature=UBsdVWNN9hUtMDt6PLjM71Ci3yGX7DGIfcBkzxnK6oxq0LnHNTJuW9r19IEJGErGfd8%7EKqnBqWkltWWV5A9axLahfvyShnu-E8zkh7yDJVZ4A%7EmRavk2kJJKYw1ComeL5lvf6WywPAulnmJY2VfoxbrQ-eBrYdOLYvmE6RAXlmKsLRXJEbBw6yhzIRCzhl1zCHQej170ogEXL%7EsbCju1d7wf-ORP3weDPQLCjgomFaLInMsFoiR3BxENK2N-FRN7czGg1sV6KDDOa9pnOgsqgcHGQESwQGjr2LvjsygATZmqAFQSq4zrUlF51ARDdYbPOspjPb94-UoARbMkvnMW9w__&Key-Pair-Id=K6UGZS9ZTDSZM 95beb7c7538289c2f92d45bd7844f46a 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 Ernest M. Frank Photograph Collection Subject The topic of the resource Frank, Ernest M., 1914-1968 Photograph albums Williamsburg (Va.) - Photographs Architecture, Domestic - Virginia - Williamsburg Public buildings - Virginia - Williamsburg Historic buildings - Virginia - Williamsburg Williamsburg (Va.) - Buildings, structures, etc. Description An account of the resource Ernest Maurice Frank, a graduate of Cornell University, rose from the ranks of Draftsman to Assistant Vice-President over the course of a three-decade career at Colonial Williamsburg. During the late 1930s, a team of architects drafted plans to fill in the gaps with reconstruction or restoration of structures not included in the initial group completed in the early 1930s. Known as “Phase II” in Colonial Williamsburg’s evolution, the period launched an expansion of plans for future projects at sites such as the George Wythe and Peyton Randolph Houses, many of which became reality after the end of World War II. Singleton P. Moorehead, an architect who joined the Restoration team in 1928 and became part of the architectural office in 1934, and A.E. Kendrew, Foundation Architect, proved to be pivotal in moving Colonial Williamsburg forward with the Phase II transition. They hired Ernest Frank in 1939 to join their team of draftsmen beginning work on Phase II planning. Unfortunately, World War II intervened, and Frank and many other employees left the organization to fulfill their military duties in 1942. Frank re-joined Colonial Williamsburg in 1946 and established his own architectural practice in Williamsburg on the side in 1947. He rapidly advanced to Senior Draftsmen in 1947, Designer in 1948, and assumed the position of Assistant Director of the Architecture, Construction, and Maintenance Division from 1949-1956. In 1957, he became Director of the division until 1964, when he received a promotion to Assistant Vice-President for Colonial Williamsburg Inc. under Charles Hackett. One of Frank’s major projects involved overseeing the reconstruction of additional eighteenth-century features of the Robert Carter House complex. He and his team researched and designed the two long covered ways connecting outbuildings to the main house, as well as Dr. McKenzie’s Shop and several outbuildings. His architectural drawings for the Powder Magazine and Guardhouse, Bryan House, Ewing House, John Crump House, and the new Visitor’s Center complex and Motor House all attest to his extensive contributions. A member of the American Institute of Architects, Frank regularly spoke at architectural forums and design schools and became a recognized authority on colonial Virginian architecture. In his final years at Colonial Williamsburg, Frank served as a deputy to Charles Hackett, who led Colonial Williamsburg Inc. and Williamsburg Restoration Inc., until his death in 1968. A record of Frank’s meticulous research conducted as part of the process of developing designs for reconstructions can be found in the Ernest M. Frank Photograph Collection, AV2009.58, housed at the Rockefeller Library. Frank joined other members of the architectural team in the late 1940s and early 1950s in a series of trips throughout the mid-Atlantic region and to Great Britain to visit sites and record details that might be used as precedents for features of buildings planned for reconstruction. The team had to engage in a certain amount of educated guesswork for certain features of structures for which they could not find archaeological, historical, or visual evidence. A series of ten photo albums encompasses images from the late 1940s to early 1950s of sites at Colonial Williamsburg, various counties in Virginia, Maryland, North Carolina, and South Carolina, and Great Britain. The two albums focusing upon his 1951 trip to England are organized by various types of details under study, such as lamp brackets, signs, shop windows, foot scrapers, chimneys, gates, and fences. Together, the photo albums offer insight into the process used to gather clues for drafting designs for some of the buildings that constitute the second phase of Colonial Williamsburg’s development after World War II. Creator An entity primarily responsible for making the resource Frank, Ernest Maurice Is Part Of A related resource in which the described resource is physically or logically included. Ernest M. Frank Photograph Collection, AV2009.58 Rights Holder A person or organization owning or managing rights over the resource. Special Collections, John D. Rockefeller Jr. Library, The Colonial Williamsburg Foundation. Extent The size or duration of the resource. Ten albums Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Gelatin silver print mounted on paper 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 Hotel & Pub, Wells Description An account of the resource View looking towards the pedimented entrance portico of a hotel in Wells, Somersetshire, England with a pub visible beyond it. Creator An entity primarily responsible for making the resource Frank, Ernest M. Date A point or period of time associated with an event in the lifecycle of the resource 1951 Is Part Of A related resource in which the described resource is physically or logically included. Ernest M. Frank Photograph Collection, AV2009.58, Album 9, Page 28 Format The file format, physical medium, or dimensions of the resource jpeg Extent The size or duration of the resource. 1 photograph Type The nature or genre of the resource Image Identifier An unambiguous reference to the resource within a given context AV2009-58-A09-FRA028_003 Rights Holder A person or organization owning or managing rights over the resource. Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation Subject The topic of the resource Hotels - England - Somersetshire Taverns (Inns) - England - Somersetshire Streets - England - Somersetshire Automobiles Columns England Ernest Frank Hotels Pedestrians Pediments Porticoes Somersetshire Street Scenes Taverns Wells https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/c977c2520b03bfe4951b3f24a151699a.jpg?Expires=1780531200&Signature=tmb8PsTAJEvSb3ff%7EWOj9vJLQYV63E0ypAWplE%7Ev6k0U9t4NbLUJkEhOu8jWkKFLhk7svHxhDKFb1gStQvvEb0xvjhC1i85Lzvqy1bsj6EC9nj%7EanRjvroN%7EhAmwYCSmvjAZL3sF4VjiTqr8D8dQk9bJJFURW5pvbw%7E%7E06p92Em8%7EaDM9sD9jykBmNtHEHRLSNsWVLtSy%7E5l9QK2bz4JG3BWeovqyhrUJ5ikTkTJs%7Ec4uOO5QSAwPu4dkX-vhp7q-WMGbCMhcfidMljfM9A2l%7E6rj5VDpAVClgthRcMau9LA4ouxbrqhNBfrpKlwVMwjMpLz9phQYOdms8yjXbjbfA__&Key-Pair-Id=K6UGZS9ZTDSZM ecab5d540f3aff49796ad695d5847c5f 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 1038 IPTC Array a:5:{s:7:"caption";s:166:"Recto of postcard depicting dining room at King's Arms Tavern, Williamsburg, Virginia, published by Colonial Williamsburg, Inc., ca. 1950s, accession # AV-2000.2, 24.";s:14:"caption_writer";s:15:"Marianne Martin";s:11:"object_name";s:15:"AV-2000-02-24-R";s:7:"keyword";s:93:"Dining Rooms, Restaurants, Taverns, King's Arms Tavern, Postcards, Colonial Williamsburg Inc.";s:16:"copyright_notice";s:91:"Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation";} IPTC String caption:Recto of postcard depicting dining room at King's Arms Tavern, Williamsburg, Virginia, published by Colonial Williamsburg, Inc., ca. 1950s, accession # AV-2000.2, 24. caption_writer:Marianne Martin object_name:AV-2000-02-24-R keyword:Dining Rooms, Restaurants, Taverns, King's Arms Tavern, Postcards, Colonial Williamsburg Inc. copyright_notice:Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation Width 1635 https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/10dd4579c25e19313652d04e2deece17.jpg?Expires=1780531200&Signature=RgTNPsjkNEbYVmGGkxkzKeMAbSM9%7ELNEcSlf2r6v9krA9DNACjyZW6RAfYkFe0XEkUs3feSPgCthv5K-B9RffML8RVbo7IP3WgFeN5vJw33ypXRBQm3uFjgUppP%7EfaMu8Ck9VAMbktPX00NCR0F2CwXFxBWG7QrqXVWxTcRkOj9aMs0FtxTCUzSPeUBkakVAQAhXLqpPakpGb0LE7bMMJ5msltqr-ryQOAXF1CPyMXckBaCF4p9R4tf%7EdNDlVwUvwJtbEl42oy2Lwt-t8I7pPFLkM%7EBltCvlnYV6fzwydxojYZKcwofmyGsdxoE0ADhxLBmtFzOHckUMo0CxiPzVKw__&Key-Pair-Id=K6UGZS9ZTDSZM 076c5e87c683b6dd2fc43c6e66857688 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 1029 IPTC Array a:5:{s:7:"caption";s:166:"Verso of postcard depicting dining room at King's Arms Tavern, Williamsburg, Virginia, published by Colonial Williamsburg, Inc., ca. 1950s, accession # AV-2000.2, 24.";s:14:"caption_writer";s:15:"Marianne Martin";s:11:"object_name";s:15:"AV-2000-02-24-V";s:7:"keyword";s:94:"King's Arms Tavern, Colonial Williamsburg, Inc., Dining Rooms, Taverns, Restaurants, Postcards";s:16:"copyright_notice";s:91:"Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation";} IPTC String caption:Verso of postcard depicting dining room at King's Arms Tavern, Williamsburg, Virginia, published by Colonial Williamsburg, Inc., ca. 1950s, accession # AV-2000.2, 24. caption_writer:Marianne Martin object_name:AV-2000-02-24-V keyword:King's Arms Tavern, Colonial Williamsburg, Inc., Dining Rooms, Taverns, Restaurants, Postcards copyright_notice:Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation Width 1618 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Selections from the Postcard Collection Description An account of the resource The Postcard Collection housed at the John D. Rockefeller Jr. Library consists of postcards of Williamsburg and surrounding areas dating from the late 19th-century to the present. It includes examples of early postcards of the town prior to its restoration by John D. Rockefeller Jr. In addition, it encompasses many examples of official postcards produced by Colonial Williamsburg for tourists. A smaller number of postcards of neighboring historic sites, such as Jamestown and Yorktown, are also present. The selections included here are primarily vintage postcards of Colonial Williamsburg and surrounding tourist attractions ranging in date from 1898 to the 1950s. Early cards in the collection illustrate a range of common postcard types and reproduction techniques. The history of the postcard's development as a souvenir, as well as the growth of tourism in Williamsburg, can be traced via Colonial Williamsburg's Postcard Collection. During what is known as the Pioneer Era from 1870-1898, the first form of postcard, featuring an illustration on one side and an undivided back on the other, did not allow the sender to include a note, unless it was written across a portion of the image on the front. The majority of pioneering postcard formats served as advertisements up until the 1893 Columbia Exposition, when postcards first appeared as souvenirs for Exposition visitors to purchase. The Private Mailing Card Era from 1898-1901 is characterized by cards printed with the notice "Private Mailing Card Authorized by Act of Congress on May 19, 1898." Backs of the cards remained undivided and purchasers could mail the cards for a cost of one cent. Several examples of postcards from this era are present in the collection. They include some of the earliest instances of souvenir cards created to promote Williamsburg historic sites, such as the Courthouse, Bruton Parish Church, the Powder Magazine, and the Capitol site. European rather than American printers created many of these postcards due to their superb skills. Chromo-lithograph cards of this era exhibit extremely rich colors. By the time the Jamestown Exposition took place in 1907, postcard production had entered the Divided Back Era, which continued until 1915. Modified postcard backs offered a segment on the left side for senders to pen a brief message. Production of cards gradually shifted to more American printers. The Jamestown Exposition provided a strong impetus for promotion of other historic sites that attendees might also stop at along the way. A series of postcards commemorating Williamsburg area historic sites in conjunction with the 1907 celebration are excellent examples of very early divided back cards. The Early Modern Era between 1916-1930 led to an increase in production of souvenir cards relating to the Williamsburg area. One type of format popular in this period is the "White Border Card" characterized by a view surrounded with a white border. Real photo cards also began to appear that featured photographs, rather than prints, of local surroundings. In the era before Colonial Williamsburg operated official gift shops, tourists counted on the Cole News Shop as their source for maps, postcards, travel guides, and souvenirs. Mr. Henry Dennison Cole served as the proprietor. His business stood on the site of the present day Taliaferro-Cole Shop. He produced his own postcards of historic sites in the area being restored by the Association for the Preservation of Virginia Antiquities and other groups of preservation minded citizens. Several examples of cards published by the Cole Shop can be found in the collection and offer a glimpse of attractions popular with early 20th-century tourists, such as the old Masonic Hall and Custis Kitchen. Once Colonial Williamsburg opened a core group of exhibition buildings to the public in the early 1930s, a new era dawned in which the museum began production of official postcards as souvenirs for visitors. Photographs by F.S. Lincoln, an architectural photographer hired on a contract basis in 1935 to take some of the first promotional photos of Colonial Williamsburg exhibition buildings, appeared on a number of real photo postcards issued in the late 1930s. Both examples of postcards bearing his photos, as well as his actual photograph collection, reside at the Rockefeller Library. The Albertype Company of Brooklyn, New York, produced one of the earliest official postcard series highlighting Colonial Williamsburg exhibition buildings, costumed interpreters, Williamsburg Inn and Lodge, and Merchants Square. In addition to holding numerous examples of Albertype cards, the Rockefeller Library also houses the corresponding photographic prints used to generate the postcards. Albertype cards are characterized by sepia toned images that show exterior and interior views of exhibition buildings, as well as some of the earliest scenes of African Americans in costume demonstrating colonial cooking techniques. For further information about Williamsburg postcards, please consult: Preacher, Kristopher J. "Williamsburg in Vintage Postcards." Charleston: Arcadia Publishing, 2002. Reisweber, Kurt. "Williamsburg in Old Post Cards." Colonial Williamsburg XXI, No.2, (June/July 1999): 52-57. Subject The topic of the resource Postcards - Virginia - Williamsburg Souvenirs (Keepsakes) - Virginia - Williamsburg - Pictorial works Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Postcard Physical Dimensions The actual physical size of the original image. 5.5 inches x 3.5 inches Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource King's Arms Tavern Subject The topic of the resource King's Arms Tavern (Williamsburg, Va.) Block 09. Building 29A. Taverns - Virginia - Williamsburg Restaurants - Virginia - Williamsburg Description An account of the resource Postcard depicting the interior of King's Arms Tavern, Williamsburg, Virginia, published by Colonial Williamsburg, Inc., ca. 1950s. The caption reads: "King's Arms Tavern, Williamsburg, Virginia. Meals served in the seven dining rooms of the King's Arms, a reconstructed colonial tavern on Duke of Gloucester Street, are prepared from eighteenth-century recipes. Costumed hostesses and waiters enhance the charm of an authentic early American setting." Creator An entity primarily responsible for making the resource Colonial Williamsburg, Inc. Date A point or period of time associated with an event in the lifecycle of the resource ca. 1950s 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 AV-2000-02-24-R Rights Holder A person or organization owning or managing rights over the resource. Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation Bars Chairs Chandeliers Costumed Interpreters Dining Rooms Drinking Establishments Fireplaces King's Arms Tavern Maps Pewter Plates Postcards Prints Restaurants Taverns Virginia Waiters Waitresses Williamsburg https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/9b4968e6ad8d3bf7bf05546bc0cf7505.jpg?Expires=1780531200&Signature=TYdelp9TCoDLeh46mGq9ZPstK0qMAOQrJBcQ4iCqLKh7Lcfe6YrT9HptuqEblqAqa8zv2u1Ha70Y3fJAqqm1Mb%7Efa5hjkvWtqzkPiPYNxdZQHaPXpu1EXQ4xRGCAiSsCzQwbHQt4zt05SDp%7Etkctduy6eBeH5XqmHNE7Pv%7E6bJorKh4QbP92l8Zl5cU8pVCChNctqJO%7E147EYarH-jO3muLn6Yem%7EqcybkQwckVdtiweBVdzmDGG%7ET-YpcrnjlM7AWXIVcoYyswuGcJZJziDCAzutGoaDGCwCzKhCAcMi1GpJYS90kbG93Ey%7E0zeeWiPV1qkMd3O1WetvFtVLcEjCQ__&Key-Pair-Id=K6UGZS9ZTDSZM 053c4b6cf58716ca406f9e08bb2d3fe4 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 Todd and Brown Inc. Photograph Collection Subject The topic of the resource Todd and Brown Inc., New York Todd, Webster B. Brown, J.O. Historic buildings - Virginia - Williamsburg - 1930-1939 Williamsburg (Va.) - Photographs Williamsburg (Va.) - Buildings, structures, etc. Description An account of the resource 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. 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. Creator An entity primarily responsible for making the resource Todd and Brown Inc., New York 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 Gelatin silver print Physical Dimensions The actual physical size of the original image. 2.5 x 4 inches Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Market Square Tavern Subject The topic of the resource Market Square Tavern (Williamsburg, Va.) Block 12. Building 13. Public buildings - Virginia - Williamsburg Description An account of the resource Market Square Tavern, Williamsburg, Virginia Creator An entity primarily responsible for making the resource Todd and Brown Inc. Date A point or period of time associated with an event in the lifecycle of the resource 1932 Is Part Of A related resource in which the described resource is physically or logically included. Todd and Brown Inc. Photograph Collection, AV2010.3, Box 1 Format The file format, physical medium, or dimensions of the resource jpeg Type The nature or genre of the resource Image Identifier An unambiguous reference to the resource within a given context TB314 Rights Holder A person or organization owning or managing rights over the resource. Special Collections, John D. Rockefeller Jr. Library, The Colonial Williamsburg Foundation Chimneys Clapboard Siding Dormers Market Square Tavern Porches Shutters Taverns Todd and Brown Inc. Virginia Williamsburg https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/0d11f61f8eabd0b7151c999ad297a113.jpg?Expires=1780531200&Signature=sMB4Bwa2WswACamdweGpVR-6YQDUf8GXg4vOVS8Vc-IEq1lQVHz1089MCZMAbieS1K0XHz5vN43tEADmrJaKAJHXudVg-Gb8blPN5fVKGdyrYG87NELOswmM0nWFgyS4VBN4YfKdeyUmr4QlYaed1ym31aDYkbJsJfB8BGf9O86qUm8HpIkaxoiiMVsHtRHdP06fj1gqIN0ftlfkOhZJvRtS0jUSZ4gtPIMjKBCOOM%7EgM1DBtvSGErtx4d0lSdPlhcTCUwY-HyXUHfRqR7oQy4uK5MjBR4zC%7EzIs8O546ovzI1uSOKknXZhEdIPMcWsSh0YcZuIbHYwCGmW6jS90pQ__&Key-Pair-Id=K6UGZS9ZTDSZM 5215a0d1203ad8633880a7bffe5dd1da 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 967 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 &amp; 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 &amp; Walker, McKim, Mead, &amp; 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, Exterior 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 Exterior view of Market Square Tavern taken by F.S. Lincoln, 1935. The original tavern structure burned down in 1859 but the remains of the 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 restoration in the early 1930s, guests at Colonial Williamsburg could rent rooms in the tavern to experience some colonial ambiance. It continues to serve as a lodging house for visitors today. 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 LC328P5 Rights Holder A person or organization owning or managing rights over the resource. Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation Chimneys Colonial Cornices Dentils Dormer Windows Dormers Duke of Gloucester Street F.S. Lincoln Hitching Posts Inns Market Square Tavern Queen Street Stairs Taverns Virginia Weatherboarding Williamsburg https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/7caa4723a3ecfb3f71ed03f6c767558e.jpg?Expires=1780531200&Signature=YLgLjUEojzn8NJqg%7ER9p5jV5rJ0BsuUNh9j96MZP-c43shzkkGKv3w5p32ShtZ6B-LaeQ9roTefLlPPbFgOyVXD9%7EaXHALTDC2oRZiOSoEQ9pJ9p003ObcJaz%7EardeMMUq7gYkAk7RsUBUv6vJhgxnwKulpEiZhDO0SuwP-ewJJZEM0tzUzzO-KjdpEtyLc61IA05bM9pCQdcaQrpqFvH6ni%7EXyA-XG%7ELMlW0Wdu73d5bswAXvHv8l6xqKHrWzsAWXKJyu6%7ENLiNRpOJqT6Mj5EZpeifKIx9DC5%7E4xVZygB0L54H5kYK1hdzXKD0uhHM3M2xuxmoQVKHwaxMgxLyRw__&Key-Pair-Id=K6UGZS9ZTDSZM fa4a8c5ed0db9066717b368753526c85 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 609 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 &amp; 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 &amp; Walker, McKim, Mead, &amp; 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, Servants' Quarters and Garden Subject The topic of the resource Market Square Tavern (Williamsburg, Va.) Block 12. Building 13. Taverns (Inns) - Virginia - Williamsburg Gardens - Virginia - Williamsburg Description An account of the resource View of the Market Square Tavern Servants' Quarters and garden 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. It has continuously provided accommodations for visitors to Williamsburg for several centuries. 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 LC328P9 Rights Holder A person or organization owning or managing rights over the resource. Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation Benches Chimneys Dormer Windows Dormers F.S. Lincoln Fences Flowers Gardens Inns Lampposts Market Square Tavern Outbuildings Servants' Quarters Taverns Virginia Williamsburg https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/3bf8c8bad5b593e863d2f7ba3c79e9ba.jpg?Expires=1780531200&Signature=dgvuojRwCZeQzUcvFdT4cWQXxDqcktbWO2%7E5WSq1-hRWUwZXIQ5%7EBTHtIunXMudrkel%7E6%7EdYYgeza%7E5oA9sERqe6QYiN-8X5S0zfPO4oU-XfMYVuavsayw7Pew-aIxyIlTEf2H1uQJHW9Qm4jREDdVUob5ItxCCDkk3ps-6Y8UiCyKyuo5lwCpjacrv5kLCRXDLB1ERjMJaPYSm1nPUe9qYKdii3egn9JyW0DIYAsxyDpo2tuOw3hoOjC-AVKOxNzbIns0Lg5Md4nGIok1lf1Fjm91%7E7v3aO1H4UL2eMRu6L0cs9ZkkOzljA3r4dfiLFsLz664ViFIAPQLmaGIBklA__&Key-Pair-Id=K6UGZS9ZTDSZM aa06dff89fbed70e606a3cc43bfd943a 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 &amp; 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 &amp; Walker, McKim, Mead, &amp; 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, Stable Yard 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 Exterior view of Market Square Tavern Stable Yard taken by F.S. Lincoln in 1935. Constructed in 1749 by John Dixon, the tavern was extensively modified in the late nineteenth century and restored in the early 1930s. It has continuously provided accommodations for visitors to Williamsburg for several centuries. 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 LC328P8 Rights Holder A person or organization owning or managing rights over the resource. Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation F.S. Lincoln Fences Gates Historic Buildings Inns Lampposts Market Square Tavern Outbuildings Stable Yards Taverns Virginia Williamsburg https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/92458a6b2a73eb7ae761870fa9337f35.jpg?Expires=1780531200&Signature=f87Vn%7EhST9I50Fx-wVunzvXmeVp3%7EngPBOBpd96k9wSRHExFykUTgPqO8jXGTPlLrsiU3WMSNt8XCkHJ9uxcjNyEZ86ZYkWZ9rOqFC8UkZY98uDNYV2lvzGyv15Fows0g83hnR9BMH6Iv-NX9m01e3kaQaszdF71wehWhJmuTrCnTJYFBV5SXlejVzhMO5lynFE7M3xvw9oeSNRe1RQhhzw7xWeDrYg8KPgc84PziD22oWnym3iOW-iXruY9aQgj1lAItwpjDBxjoNymwquehmv9ymy1OiV3hR0rTQLLGLYWkqTidj9Ro4l9tnDKj0q4F-RkSttx7dCgeO8ZxtCTew__&Key-Pair-Id=K6UGZS9ZTDSZM 0c947cab2caf1d472eace94f0ca3ac3d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Peter Hornbeck Lantern Slide Collection Subject The topic of the resource Lantern slides - Hand-colored - 1930-1940 Hornbeck, Peter - 1936-1998 Williamsburg (Va.)--History. Architecture, Colonial - Virginia - Williamsburg Description An account of the resource Mr. Peter Hornbeck, a renowned Landscape Architect and Harvard professor, assembled this collection of lantern slides produced between the late 1930s and early 1940s. A graduate of the University of Pennsylvania and the Harvard Graduate School of Design, Peter Hornbeck managed the landscape architecture firm of Hornbeck Associates in North Andover, Massachusetts during the 1950s. He became a faculty member of the Harvard Graduate School of Design in 1963 and taught courses focusing upon historic landscape preservation and city planning.. These lantern slides served as visual aids during lectures he gave about the Williamsburg Restoration and eighteenth-century garden history. The lantern slides encompass a variety of images of Williamsburg available commercially from A.D. Handy, F.S. Lincoln, Eldredge Studio, and the National Geographic Society. They also include some images of historic homes and gardens in other parts of Virginia and in Great Britain. This collection is significant as a record of how landscape architects were interpreting and presenting eighteenth-century garden history during the 1930s and 1940s. It also provides a visual record of Williamsburg buildings and gardens before, during, and after the restoration work undertaken in the early 1930s. In addition, the collection documents how the Williamsburg Restoration publicized its work through commercial slide sets. For example, Mr. F.S. Lincoln, a New York photographer hired to compile a photographic portfolio of restored Williamsburg buildings for a special issue of the "Architectural Record" in 1935, also created colorized lantern slides of his photos for sale in Williamsburg shops. The Peter Hornbeck Lantern Slide Collection contains numerous examples of these early souvenir images. A precursor of 35mm slides, lantern slides are large format positive transparencies, usually 3.25 x 4 inches, sandwiched between two pieces of glass. Many were hand-colored. A projector allowed the slides to be viewed on a wall or screen. Instead of automatically advancing from one slide to the next, the lantern slides had to be manually placed into a slot on the projector. Invented in 1848, lantern slides evolved from those associated with magic lanterns in the late nineteenth-century to the format represented in this collection. Between 1848-1870, oil lamps served as the light source for magic lantern projectors. By the 1890s, the carbon arc lamp offered a better lighting method. The introduction of electricity in the twentieth-century allowed the projection of lantern slides to become common in schools and universities. Lantern slides became obsolete in the 1950s when the Kodachrome three-color process brought about the introduction of 35mm slides. Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Lantern Slide Physical Dimensions The actual physical size of the original image. 3.25 x 4 inches Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Market Square Tavern, Williamsburg, Va. Is Part Of A related resource in which the described resource is physically or logically included. Peter Hornbeck Lantern Slides Collection, AV-2000.9, Box 2 Format The file format, physical medium, or dimensions of the resource jpeg Type The nature or genre of the resource Image Identifier An unambiguous reference to the resource within a given context HLS-88 Rights Holder A person or organization owning or managing rights over the resource. Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation Subject The topic of the resource Market Square Tavern (Williamsburg, Va.) Block 12. Building 13. Taverns (Inns) - Virginia - Williamsburg Historic buildings - Virginia - Williamsburg Stores, Retail - Virginia - Williamsburg Lantern Slides - Hand-colored - 1930-1940 Description An account of the resource Pre-restoration view of Market Square Tavern showing a number of the nineteenth-century additions to the structure that were later removed during its restoration in the early 1930s. They include the open and screened porches along the front and the full second story eliminating the pitched roof and dormer windows of the colonial structure. A retail store visible on the right side is another example of a nineteenth-century modification. During the tavern's restoration between 1931 and 1932, it was returned to its original form as a story and a half gable end building attached to the main tavern. Date A point or period of time associated with an event in the lifecycle of the resource Circa 1928 Automobiles Chimneys Duke of Gloucester Street Glass Transparencies Inns Lantern Slides Market Square Tavern Peter Hornbeck Porches Pre-Restoration Retail Stores Screened Porches Street Scenes Taverns Virginia Weatherboarding Williamsburg https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/8026c95beb35fda9a5a7f5654b56cf33.jpg?Expires=1780531200&Signature=Qmb5bX5S3RuvDero%7EzI7QWcmbOqExyn-RJ-x5BV2a6FjTL7Ux6qMZAZ4tXtJSTpJukbNdzqQiC5RB6fQ%7E%7EaAWTP7YXOpftWRW0ndSQZzUXeccP5a9vc6HJPH6CHSCIHOl-UuJLo-9PxZp00TRKcfL1UzlHhxO3wMmvNK6riLXpe1bdBodTSouV9fBdAZZwYazoMa0GQkNW9OP7ip3qgNaYA4h-%7E-DpkbtF4IS2XggWk3ZDTQWXLZehMqoBD4jLOK2PbxzNrntqrCgjFA6RYvQ1WomeiGZ2iNaODsa6%7EcqYYuDtqYj2wP%7ERwWgXRBAb08OrQ%7Er-Ym0I532ZSVrFJkvg__&Key-Pair-Id=K6UGZS9ZTDSZM 7f08ed0262ce8981b2a65f008b70ff95 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Peter Hornbeck Lantern Slide Collection Subject The topic of the resource Lantern slides - Hand-colored - 1930-1940 Hornbeck, Peter - 1936-1998 Williamsburg (Va.)--History. Architecture, Colonial - Virginia - Williamsburg Description An account of the resource Mr. Peter Hornbeck, a renowned Landscape Architect and Harvard professor, assembled this collection of lantern slides produced between the late 1930s and early 1940s. A graduate of the University of Pennsylvania and the Harvard Graduate School of Design, Peter Hornbeck managed the landscape architecture firm of Hornbeck Associates in North Andover, Massachusetts during the 1950s. He became a faculty member of the Harvard Graduate School of Design in 1963 and taught courses focusing upon historic landscape preservation and city planning.. These lantern slides served as visual aids during lectures he gave about the Williamsburg Restoration and eighteenth-century garden history. The lantern slides encompass a variety of images of Williamsburg available commercially from A.D. Handy, F.S. Lincoln, Eldredge Studio, and the National Geographic Society. They also include some images of historic homes and gardens in other parts of Virginia and in Great Britain. This collection is significant as a record of how landscape architects were interpreting and presenting eighteenth-century garden history during the 1930s and 1940s. It also provides a visual record of Williamsburg buildings and gardens before, during, and after the restoration work undertaken in the early 1930s. In addition, the collection documents how the Williamsburg Restoration publicized its work through commercial slide sets. For example, Mr. F.S. Lincoln, a New York photographer hired to compile a photographic portfolio of restored Williamsburg buildings for a special issue of the "Architectural Record" in 1935, also created colorized lantern slides of his photos for sale in Williamsburg shops. The Peter Hornbeck Lantern Slide Collection contains numerous examples of these early souvenir images. A precursor of 35mm slides, lantern slides are large format positive transparencies, usually 3.25 x 4 inches, sandwiched between two pieces of glass. Many were hand-colored. A projector allowed the slides to be viewed on a wall or screen. Instead of automatically advancing from one slide to the next, the lantern slides had to be manually placed into a slot on the projector. Invented in 1848, lantern slides evolved from those associated with magic lanterns in the late nineteenth-century to the format represented in this collection. Between 1848-1870, oil lamps served as the light source for magic lantern projectors. By the 1890s, the carbon arc lamp offered a better lighting method. The introduction of electricity in the twentieth-century allowed the projection of lantern slides to become common in schools and universities. Lantern slides became obsolete in the 1950s when the Kodachrome three-color process brought about the introduction of 35mm slides. Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Lantern Slide Physical Dimensions The actual physical size of the original image. 3.25 x 4 inches Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Market Square Tavern, Williamsburg, Virginia Is Part Of A related resource in which the described resource is physically or logically included. Peter Hornbeck Lantern Slides Collection, AV-2000.9, Box 2 Format The file format, physical medium, or dimensions of the resource jpeg Type The nature or genre of the resource Image Identifier An unambiguous reference to the resource within a given context HLS-89 Rights Holder A person or organization owning or managing rights over the resource. Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation Subject The topic of the resource Market Square Tavern (Williamsburg, Va.) Block 12. Building 13. Taverns (Inns) - Virginia - Williamsburg Lantern slides - Hand-colored - 1930-1940 Description An account of the resource Exterior of Market Square Tavern, 1935. A welcoming glow from the windows of Market Square Tavern offered visitors to 1930s Colonial Williamsburg the ambience of stepping back in time. Constructed in 1749 by John Dixon, the tavern was extensively modified in the late nineteenth century and restored in the early 1930s. It has continuously provided accommodations for visitors to Williamsburg for several centuries. Date A point or period of time associated with an event in the lifecycle of the resource Circa 1930s Chimneys Cornices Dentils Dormer Windows Dormers Glass Transparencies Hitching Posts Inns Lantern Slides Market Square Tavern Peter Hornbeck Porches Public Buildings Shutters Stairs Taverns Virginia Weatherboarding Williamsburg https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/f4fd2c60194cae684c5ebb9f3fb45e42.jpg?Expires=1780531200&Signature=TGorCh4aW-%7E6S1WIy4Nhzo8nVw9G4lck-gc%7EAOcb5gk4PGxqeyErPIKht5baj2ZBGFaknJBWkBNLeOcRnr9Q-mBwieJXyA7mV3ZRbnZZDscJUJY5n5dB2hedz-nHJ2BGAoltBnd1uLvkId9sLgXyDtbfEouQOmTBbg3W1IMK-YwrlkaqPRtXW8aw1-Y4w6kYXw-g5JYyRVZpUoGXqIGLkCMlAbrYmtM8HRAbAQ5gtczLdyI0V2uy2Ws2HnmV6RUWswDnfz8s1eq3S1mim8VsB1RJs%7EzrFJ9SyJ2tdAv-gxo%7EH3f0j469pNvlOv%7E2WQIUhRBhXkqog8VJXOFWxGPVdw__&Key-Pair-Id=K6UGZS9ZTDSZM 142d32334def4ef41fe5461bf7c690dd 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 John A. Barrows Photograph Collection Subject The topic of the resource Barrows, John A. Photography - Virginia Historic buildings - Virginia - Williamsburg Description An account of the resource BIOGRAPHICAL SKETCH John A. Barrows joined the staff of the Williamsburg office of Boston architects Perry, Shaw & 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. 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. SCOPE AND CONTENTS 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. 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. Creator An entity primarily responsible for making the resource Barrows, John A. Date A point or period of time associated with an event in the lifecycle of the resource Circa 1930 Is Part Of A related resource in which the described resource is physically or logically included. John A. Barrows Photograph Collection, MS1996.22 Format The file format, physical medium, or dimensions of the resource jpeg Type The nature or genre of the resource Image Rights Holder A person or organization owning or managing rights over the resource. Special Collections, John D. Rockefeller Jr. Library, The Colonial Williamsburg Foundation Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Gelatin silver print Physical Dimensions The actual physical size of the original image. 2.5 x 4 inches Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource North Elevation, Wetherburn's Tavern Subject The topic of the resource Architecture, Domestic - Virginia - Williamsburg Taverns (Inns) - Virginia - Williamsburg Wetherburn's Tavern (Williamsburg, Va.) Block 09. Building 31. Description An account of the resource View looking west towards north elevation of Wetherburn's Tavern, Williamsburg, Virginia Creator An entity primarily responsible for making the resource Barrows, John A. Is Part Of A related resource in which the described resource is physically or logically included. John A. Barrows Photograph Collection, MS1996.22, Box 1 Format The file format, physical medium, or dimensions of the resource jpeg Type The nature or genre of the resource Image Identifier An unambiguous reference to the resource within a given context Bar-188w (see also 1990-1352CN) Rights Holder A person or organization owning or managing rights over the resource. Special Collections, John D. Rockefeller Jr. Library, The Colonial Williamsburg Foundation Chimneys Clapboard Siding Cornices Dormers John Barrows Porches Taverns Virginia Wetherburn's Tavern Williamsburg https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/130572052055c0a11a58a09667658e5d.jpg?Expires=1780531200&Signature=XSpFHJZmKuNoDA4UMjBdiA8t-yykPrFGywm86bKyvU5u5msHo8r4o5wCM-oc9c%7ETYxsph0uy7KklS6%7EUDWHFVj0qS9kC9cYP2lDbEtBFGPvPwQgMfNhsDMI1KtTfpVVG-W8-55cIe1pLjbbfjsf6DpjNgfciQocfyDS0nvOUrLED3mBo%7ETh6GgzCpZJfOQAzrjIFEVu3VXfDfZaRKmimG5GxSvxzX2BQWb4l8sRLmi8u%7EuDWSu7DR8s3bicQnmUjjuH9JwEeZqrzKmYf6Gyzc85xA0OKGqqq8v2fk70eWqwEEV123MrJn3tPoOPIcqCBH8RRmQieepUwwystluexJg__&Key-Pair-Id=K6UGZS9ZTDSZM 225a32e74b87d06f813a27870fcee634 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pacific Stereopticon Company Lantern Slides Description An account of the resource Produced by the Pacific Stereopticon Company of Los Angeles, this collection of forty-five lantern slides depicts individuals involved in the restoration of Williamsburg, as well as some of the restored buildings. The slides are a mixture of black and white and color images taken by various photographers in the late 1930s. Many are copies based upon photos taken by contract professionals hired to document the appeal of the architecture and landscapes of Colonial Williamsburg. Several of the black and white slides are derived from photos taken by noted architectural photographer F.S. Lincoln, whose collection is also available for viewing on this site. The lantern slides are significant because they document early efforts to publicize the newly opened museum. California architect Reginald Davis Johnson utilized the set to lecture to students and colleagues about the massive efforts undertaken to bring Williamsburg's historic district back to its 18th-century appearance. Noted for his contributions to the development of the Spanish-Southern California architecture of Santa Barbara, Reginald Davis Johnson resided in Pasadena and operated an architectural design studio. Some of his best known projects include the Santa Barbara Biltmore Hotel, the Santa Barbara Post Office, and the Harbor Hills, Rancho San Pedro, and Baldwin Hills communities in Los Angeles. A precursor of 35mm slides, lantern slides are large format positive transparencies, usually 3.25 x 4 inches, sandwiched between two pieces of glass. Many were hand-colored. A projector allowed the slides to be viewed on a wall or screen. Instead of automatically advancing from one slide to the next, the lantern slides had to be manually placed into a slot on the projector. Invented in 1848, lantern slides evolved from those associated with magic lanterns in the late 19th-century to the format represented in this collection. Between 1848-1870, oil lamps served as the light source for magic lantern projectors. By the 1890s, the carbon arc lamp offered a better lighting method. The introduction of electricity in the 20th-century allowed the projection of lantern slides to become common in schools and universities. Lantern slides became obsolete in the 1950s when the Kodachrome three-color process brought about the introduction of 35mm slides. Subject The topic of the resource Pacific Stereopticon Co. Lantern slides - Hand-colored - 1930-1940 Johnson, Reginald Davis, 1882-1952 Creator An entity primarily responsible for making the resource Pacific Stereopticon Co. Date A point or period of time associated with an event in the lifecycle of the resource ca. 1935 Format The file format, physical medium, or dimensions of the resource jpeg Type The nature or genre of the resource Image Rights Holder A person or organization owning or managing rights over the resource. Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Lantern slide Physical Dimensions The actual physical size of the original image. 2 x 3 inches Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Raleigh Tavern Subject The topic of the resource Raleigh Tavern (Williamsburg, Va.) Block 17. Building 06. Taverns (Inns) - Virginia - Williamsburg Historic buildings - Virginia - Williamsburg Description An account of the resource Hand-colored lantern slide featuring photo of front entrance and sign of the Raleigh Tavern taken by F.S. Lincoln in 1935. It is the twenty-fifth 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. The tavern's signboard and a fence stand in the foreground, while the front entrance of the building is visible in the background. A lead bust of Sir Walter Raleigh, the noted navigator-explorer, is featured in the broken pediment above the tavern's front doors. Eighteenth-century spelling was not exact and Raleigh most often wrote his name without the “i”. 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. 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 Identifier An unambiguous reference to the resource within a given context PSC-025 Rights Holder A person or organization owning or managing rights over the resource. Special Collections, John D. Rockefeller Jr. Library, The Colonial Williamsburg Foundation Publisher An entity responsible for making the resource available Pacific Stereopticon Co. Is Part Of A related resource in which the described resource is physically or logically included. Pacific Stereopticon Company Lantern Slide Collection Format The file format, physical medium, or dimensions of the resource jpeg Type The nature or genre of the resource Image Benches Busts Chimneys Dentils Dormers Duke of Gloucester Street F.S. Lincoln Hitching Rails Inns Lantern Slides Ordinaries Pacific Stereopticon Company Raleigh Tavern Shutters Signs Sir Walter Raleigh Taverns Transoms Virginia Weatherboards Williamsburg https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/a24cc084e845b698f365247c8190488a.jpg?Expires=1780531200&Signature=Bd-jDfPcc%7ErOBzUtb0K-adOZK1j%7EBSSyy0h11e0bPlSEbKjuNMgwjeQqwGHlMoY56nHCrDjV3imQDU%7ERW8Yq4pRb-aN42mg6aRHOEqyBqYLF%7E1yMvAZY6O4b2uuRkO04EkWRyOIyAEwzGTOa6ALiFbNBG9CuXV5M%7EcW%7ENCIVd4SjpqeT1o8lXFUV-IHzEO5XD9rd39QpZpqpmM9bAS474L4L1Qt2U9sVyMDhabOh8AD7WbXcley5BvabR1AK9W-4t4CmEiOUJIPhDA4ATEdvzihG4orsvjqfuUzDx1pD0sTQjvjVfQy5aYqgh0BqVec7ybE%7EvBc8UKSVeQzBlM5CyA__&Key-Pair-Id=K6UGZS9ZTDSZM 151513ea926cfd132c755484526d57c7 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 Richard Garrison Photography Collection Subject The topic of the resource Garrison, Richard Historic buildings - Virginia - Williamsburg Architectural photographs - 1930-1940 Williamsburg (Va.)--History Description An account of the resource BIOGRAPHICAL SKETCH Richard Garrison was a New York photographer with a studio at 52 Vanderbilt Avenue in New York City. His architectural photographs appeared regularly in such magazines as "House Beautiful," "American Art and Architecture," "Architectural Record," and "House & Garden." According to a recommendation written by Mr. Frederic C. Hirons, Garrison “…was trained as an architect and …knows the vital points in taking architectural photographs…” After F.S. Lincoln’s photography contract expired in 1937, Colonial Williamsburg hired Richard Garrison in his place. A contract signed by Garrison in June 1937 indicates that Garrison was contracted to be available when requested to photograph exterior and interior views of buildings between June 15, 1937 and June 14, 1938. Colonial Williamsburg renewed this agreement with Garrison in 1938 and 1939. Colonial Williamsburg staff members asked Garrison to create a master collection of official photos of Colonial Williamsburg buildings and gardens. He was given several lists of suggested views to take of the exterior and interior of the Governor’s Palace, the Capitol, the Raleigh Tavern, the Public Gaol, the Wren Building, Market Square Tavern, and the Travis House. The lists also instructed him to photograph various gardens and street scenes in the historic area, as well as shops in the business block and exterior views of the Williamsburg Inn. Some of Garrison’s photos formed part of the Virginia exhibit at the New York World’s Fair in 1939. Richard Garrison joined the Navy in 1942 and closed his office for the duration of World War II. During this period, his negative files were made available to Colonial Williamsburg at the offices of Underwood & Underwood in New York City. Garrison received his discharge from the Navy in 1946 and contacted Colonial Williamsburg about the possibility of additional contract work. The photographer presented Kenneth Chorley, President of Colonial Williamsburg, with a proposal to photograph the interiors of private homes within the historic area. Mr. Chorley vetoed the proposal because he felt the private interiors were not accurately restored and would confuse the public as to the objectives of the restoration work. Other Colonial Williamsburg staff members were more enthusiastic about the proposal, but it was never approved. Therefore, Garrison did not perform any more contract photography for Colonial Williamsburg after World War II. Scope and Contents The Richard Garrison Photo Collection consists of one portfolio of black and white and hand-colored photos ranging in size from 8x10 to 11x14. These are the only known Garrison photos in the Foundation’s photo archives. The whereabouts of the other negatives and prints created by Garrison while under contract to Colonial Williamsburg are unknown. Although it is unfortunate that only a small portion of Garrison’s photographic work for Colonial Williamsburg has been preserved, this small portfolio provides a sample of the types of photographs he created. The subject matter includes interior views of the Governor’s Palace, George Wythe House, Market Square Tavern, and the Raleigh Tavern; exterior views of the Capitol, Raleigh Tavern, Public Gaol, Courthouse, Ludwell-Paradise House, Ayscough Shop, Palmer House, Travis House, Pitt Dixon House, Coke-Garrett House, and the Williamsburg Inn; and various unidentified garden scenes. Some of the photos are mounted on board and signed by the photographer. They date from the period of 1937-1939, when Garrison worked on a contract basis for Colonial Williamsburg. Garrison's photographs of Colonial Williamsburg appeared in an exhibit at the Pedac Galleries at Rockefeller Center and also in the publication "Williamsburg, Virginia: A Brief Study in Photographs" published in 1939 by Colonial Williamsburg, Inc. Creator An entity primarily responsible for making the resource Garrison, Richard 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 Gelatin silver print Physical Dimensions The actual physical size of the original image. 8 x 10 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 Subject The topic of the resource Garrison, Richard Raleigh Tavern (Williamsburg, Va.) Block 17. Building 06A. Taverns - Virginia - Williamsburg Historic buildings - Virginia - Williamsburg Description An account of the resource A horse-drawn carriage in front of the Raleigh Tavern on Duke of Gloucester Street, Williamsburg, Virginia, circa 1930's Creator An entity primarily responsible for making the resource Garrison, Richard Date A point or period of time associated with an event in the lifecycle of the resource Circa 1930's Date Created Date of creation of the resource. Circa 1930's Is Part Of A related resource in which the described resource is physically or logically included. Richard Garrison Photography Collection, AV-1998.14, Box 3, Folder 2 Format The file format, physical medium, or dimensions of the resource jpeg Type The nature or genre of the resource Image Identifier An unambiguous reference to the resource within a given context Garr-012 Rights Holder A person or organization owning or managing rights over the resource. Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation Carriages Costumed Interpreters Duke of Gloucester Street Horses Raleigh Tavern Richard Garrison Signs Street Scenes Taverns Virginia Williamsburg https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/81851f3f635b268e7108004ae1fe648f.jpg?Expires=1780531200&Signature=jeX0Ib3Y2qA3BHYEvcOwW3jHVxzsy4sKVlDqDdAOf6Q5xZQwRXe0KnqbO7Xd3XkAiJ3RBLchs7LLAikdvjsazxLlKDqg%7E0FyeMo7xode1rJiWchmfFNlytjMSX0s0%7E6s81wqHvYikcTbkHhCuMSPsIJc36qGU0roM5YpfPJJZ6k7rY02Z-XdlbxMvYCQyQ6g5vjttaIbjLCAwSBH6pj%7EDZS16RnP2kUuCK%7EmvC%7EMWG3GfjmsgjquVRtdhBM7xPBZ5XNntsEQolOrpIOzfeCn30DKDH7tVfrmmNB0OcHbI%7EOGFGVmHAjTLpdGq-itGGPAVk3yrFmf-bmYgYR2giXTNg__&Key-Pair-Id=K6UGZS9ZTDSZM 4443cbce395b2b4982c13eb79a13a180 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 Finlay Forbes Ferguson Jr. Photograph Collection Subject The topic of the resource Architecture, Domestic - Virginia - Williamsburg Public buildings - Virginia - Williamsburg Historic buildings - Virginia - Williamsburg Williamsburg (Va.) - Photographs Williamsburg (Va.) - Buildings, structures, etc. Description An account of the resource The son of Norfolk architect Finlay Forbes Ferguson Sr., who served as an Advisory Architect in the late 1920s as Williamsburg’s restoration began, Finlay Ferguson Jr. contributed to two different periods of architectural projects at Colonial Williamsburg. A graduate of the University of Virginia’s architecture program, Finlay Jr. started the first phase of his career working as a draftsman at Colonial Williamsburg between 1930-1933. He assisted other members of the research and design team with preparation of conjectural sketches, preliminary elevations and floor plans, and final measured drawings. Finlay left Williamsburg to work in his father’s architectural firm, Peebles and Ferguson, on the restoration of Fort Macon in Moorehead City, North Carolina between 1934-1935. He continued his association with the Norfolk firm until 1939, when he returned to Colonial Williamsburg to work on research and design for the restoration of Bruton Parish Church until 1943. After serving in the Navy during the remainder of World War II, Ferguson resumed practicing architecture in Norfolk. His early association with Colonial Williamsburg allowed him to become a respected expert in architectural restoration and he oversaw projects at the Adam Thoroughgood House, the Moses Myers House, the Willoughby-Baylor House, and the Old Norfolk Academy. Ferguson also designed the General Douglas MacArthur Memorial and restored St. Paul’s Episcopal Church in Edenton, North Carolina. Ferguson joined his architectural colleagues in taking numerous photographs of both ongoing work in the Historic Area and field research at other sites. These are preserved in the Finlay Forbes Ferguson Jr. Photograph Collection, AV2009.16, which encompasses over four hundred black and white images of restoration projects underway in Williamsburg’s Historic Area, as well as architectural design precedents at historic sites in Virginia, Maryland, North Carolina, and South Carolina used to facilitate reconstruction of details not documented in historical records, archaeological investigations, or visual representations. Creator An entity primarily responsible for making the resource Ferguson, Finlay Forbes Date A point or period of time associated with an event in the lifecycle of the resource 1933-1943 Is Part Of A related resource in which the described resource is physically or logically included. Finlay Forbes Ferguson Jr. Photograph Collection, AV2009.16 Extent The size or duration of the resource. 439 photographs Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Gelatin silver print Physical Dimensions The actual physical size of the original image. 3.5 x 4.5 inches Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Raleigh Tavern Description An account of the resource South and west elevations of the Raleigh Tavern, Williamsburg, Virginia Creator An entity primarily responsible for making the resource Ferguson, Finlay Forbes Jr. Date A point or period of time associated with an event in the lifecycle of the resource Circa 1932 Date Created Date of creation of the resource. Circa 1932 Is Part Of A related resource in which the described resource is physically or logically included. Finlay Forbes Ferguson Jr. Photograph Collection, AV2009.16 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 Fer-324 Rights Holder A person or organization owning or managing rights over the resource. Special Collections, John D. Rockefeller Jr. Library, The Colonial Williamsburg Foundation Subject The topic of the resource Block 17. Building 06A. Raleigh Tavern (Williamsburg, Va.) Public buildings - Virginia - Williamsburg Taverns (Inns) - Virginia - Williamsburg Automobiles Clapboard Siding Dormers Finlay Forbes Ferguson Raleigh Tavern Street Scenes Taverns Virginia Williamsburg https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/9a1ba6f4cd8845f0f7ee8aa8ece24a5a.jpg?Expires=1780531200&Signature=VJmXYcAVrMt9i9QCaiMSKp-gwMClVxMhuCLI0XIKLF5xr7fe%7EBaOHL-C%7ENtZ%7EthTvqYo5%7EMcEdoIoVMKQDcmeJnIercQUi0BLQhQ4zSRFNUgkSE%7E4ZGvWoO4ZoT%7EDH5dBoI8WtuarKqO5COxthmqst7NdQq%7Ebt33b8SPBH7m1wY2KXQyuW8DpOz7Ke22gSDL9Bfg2Xxt4cHI4JzKkD1aD8n3OpZ%7EzMtHvMWgtWgkvRyZLDWR2v9c8Gw0xXYh74HMFXGNTEyw7mS0vZEy8f05z1%7EYappMLZpIuVlaiJcrSc26tpIzFfGDIeCBT8S4kjl6YVu%7EdD5vxzsbYDPvw3RwGQ__&Key-Pair-Id=K6UGZS9ZTDSZM 2adeb2223ee960c227291a027bec3bb0 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 528 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 An Architect of the Restoration: The Pencil Sketches of Thomas Mott Shaw, F.A.I.A. Description An account of the resource BIOGRAPHY OF THOMAS MOTT SHAW, F.A.I.A. Thomas Mott Shaw is best known as one of the founding partners and principal architects of the prominent Boston architectural firm Perry, Shaw, and Hepburn, which John D. Rockefeller Jr. hired in 1928 to design, plan, and supervise the groundbreaking historical restoration of Williamsburg, the former eighteenth-century capitol of Virginia. Born in 1878 in Newport, Rhode Island, Thomas Mott Shaw received a bachelor’s degree from Harvard in 1900 and continued his education at the atelier (workshop) of Jean-Louis Pascal at the Ècole des Beaux-Arts in Paris from 1900 to 1905.[1] After graduation in 1905, he began working in Boston as a draftsman in the office of Guy Lowell, a prominent American architect and landscape architect who designed the Boston Museum of Fine Arts, as well as numerous other public, commercial, academic, and private buildings and spaces, including many distinguished estates and gardens.[2] Shaw’s connections to Lowell were presumably academic in nature, as Lowell was a former Harvard alumnus who also studied under Pascal at the Ècole, where he graduated just one year before Shaw.[3] In 1908, Shaw left Lowell’s employ and opened his own architectural practice, which he pursued until 1916.[4] During the First World War, he served as a first lieutenant in the 489th Aero Squadron of the American Expeditionary Forces (AEF).[5] He was stationed at the U.S. Army’s Air Service Production center at Romorantin, France, where he worked with the Air Service Construction Division #2. During this time, he helped design and build air fields, assembly plants for the fabrication of American aircraft, and barracks for military personnel.[6] After the war, Shaw returned to the United States and partnered with Andrew H. Hepburn, an MIT graduate and practicing architect who had also worked under Guy Lowell.[7] The two men founded an architectural firm under the name of Shaw and Hepburn, which they managed together from 1918 to 1923.[8] When architect William G. Perry (another alumnus of Harvard, MIT, and the Ècole, as well as a former WWI Army Air Corps captain[9]) joined the partnership in 1923, the firm’s name changed to Perry, Shaw, and Hepburn.[10] In January 1927, William Perry (representing his partners Shaw and Hepburn) was invited by Reverend William A. R. Goodwin (the rector of Bruton Parish Church in Williamsburg) to produce drawings of Williamsburg as it may have looked in the eighteenth century.[11] Goodwin planned to submit the renderings to an unnamed donor who was interested in restoring the town to its former eighteenth-century appearance.[12] Shaw noted: “I worked on those drawings. We all did. We all worked on them (just like a projet in the Ècole des Beaux-Arts) to get them out.” [13] In late November 1927, after spending eleven months working pro bono[14] on a series of illustrations detailing the prospective restoration of the town and the College of William and Mary’s Wren Building, Perry submitted the firm’s drawings to Reverend Goodwin to deliver to his anonymous benefactor for consideration.[15] Soon after reviewing the architects’ work, Goodwin’s patron decided to begin funding the restoration of Williamsburg, and by early December 1927, the firm of Perry, Shaw, and Hepburn was approved “'to proceed with work on [the] Wren Building’ and reconstruction of the colonial Capitol and Governor’s Palace.”[16] It was not until April 1928, however, that the architects finally learned the identity of the secretive individual funding the endeavor.[17] The three men were summoned to New York for a meeting, where Goodwin introduced them to the wealthy businessman and philanthropist, John D. Rockefeller Jr.[18] After meeting the architects in person and discussing the project with them over lunch, Rockefeller decided that he liked what he had seen and heard. On 1 April 1928,[19] he “assigned overall ‘authority and responsibility’” of Williamsburg’s building and restoration to Perry, Shaw, and Hepburn.[20] Soon thereafter, the architects set up a small office in Williamsburg near Bruton Parish Church to manage the project.[21] The architects “soon found that drawing plans was only a minor part of the [project]. The hard part was finding out what kind of plans should be drawn.”[22] Consequently, they organized a staff of historical researchers to assist them in their efforts to restore and rebuild Williamsburg’s eighteenth-century structures as authentically as possible. “Very early in the project, [the architects] decided to establish the highest possible standards for the job. ‘Nothing was ever done without a good reason,’ Shaw once stated. ‘If there were no documented reasons for doing a particular thing, we didn’t do it.’”[23] Perry, Shaw, and Hepburn’s dedication to the ideals of historic preservation at Williamsburg also paralleled a larger “preservation fever” that was sweeping the nation in the 1920s, called the Colonial Revival.[24] “Historic preservation formed the core of the Colonial Revival, a social and stylistic mindset that peaked during the 1920s [25]…fueled by the usual turmoil – a world war, the Bolshevik Revolution, the Red Scare, and another spike in immigration, all of which increased the nostalgia for the good old colonial days.[26] ….Creating museums from historic buildings became a preferred philanthropy for the wealthy…and John D. Rockefeller Jr. launched the single largest preservation project the country had seen: Colonial Williamsburg.” [27] In the wake of the stock market crash of 1929 and the subsequent national economic collapse of the Great Depression, the fervor of the movement waned, as “only the wealthiest could afford to indulge in antiques, art, and architectural restoration.”[28] As one of the wealthiest men in the country, however, John D. Rockefeller Jr. was one of the few people who could indeed afford to finance his interests in the Colonial Revival. Despite the economic strife of the times, Rockefeller’s infusion of funds into Williamsburg not only helped support the research and restoration of this sleepy southern town back to its former eighteenth-century appearance as the colonial capitol of Virginia, but also provided Williamsburg with much-needed jobs during the worst years of the Depression. By the late 1930s, Rockefeller’s restoration had positioned the town as an architectural and cultural cornerstone of the Colonial Revival movement, fueled Colonial Revival sentiments in spite of the nation’s social and economic woes, and established Williamsburg as a pioneering example of historical preservation relating to the nation’s colonial and revolutionary past. In time, Thomas Mott Shaw was eventually “placed on [a] consulting basis” with Williamsburg’s Restoration “when an architectural department was established by Colonial Williamsburg” on 1 October 1934.[29] In 1938, Shaw was recognized by the American Institute of Architects for his work on the Williamsburg Inn, “chosen for its excellency of design wedded to the sensitive appreciation of location.”[30] He was awarded the Institute’s Bronze Medal of Honor, the highest award given to a practicing architect in the country.[31] In 1939, Shaw was placed on an annual retainer with the Restoration, though he continued working as a consultant for Colonial Williamsburg on various design and restoration projects. After a long and accomplished career, Thomas Mott Shaw died on 17 February 1965.[32] THE THOMAS MOTT SHAW COLLECTION This collection consists of thirty-four graphite and mixed media sketches drawn by architect Thomas Mott Shaw during the restoration of Colonial Williamsburg from the late 1920s through 1930s, depicting various architectural exteriors and interiors of historic buildings in and around Colonial Williamsburg’s Historic Area. It is not known precisely why these drawings were created – whether for in-house or external purposes by Perry, Shaw, and Hepburn, for Colonial Williamsburg’s staff or other interested parties, or perhaps even for Shaw’s own personal use – but they have since become historically important artifacts and images of Williamsburg’s Restoration period. These illustrations take us back in time to the early days of Williamsburg as a reconstructed historic site and living history museum, capturing views that offer interesting opportunities for insight and reflection into the early research, planning, design, building, and restoration of the town’s landscape, architecture, and character as Virginia’s eighteenth-century colonial capitol. The earliest sketch in this collection, drawn in 1928, features the Bracken Tenement (also known as the Bracken House) on Francis Street, which was one of the first buildings to be restored in Williamsburg by Perry, Shaw, and Hepburn[33] in 1928.[34] The latest sketch, drawn in 1938, depicts a proposed addition to the Williamsburg Inn which was never built. Otherwise, the majority of the drawings – thirty-two in number – were completed in 1933. In the fall of 1944, Shaw offered this collection of thirty-four sketches to the Colonial Williamsburg Foundation “for use in connection with publicity or any other purpose you would like to use them for.”[35] Upon review of the sketches, Colonial Williamsburg’s staff accepted them, stating: “These sketches are something which we definitely should have in our archives….Mr. Shaw has done them from photographs and that in this respect they are not such creative work as might be done on location without the use of photographs….We have not undertaken to determine how best they can be utilized but there are several possibilities which we should like to explore further.”[36] Though the sketches were thought to be “very good” and might be used in various ways,[37] Colonial Williamsburg’s staff chiefly appreciated the drawings for their “sentimental appeal by virtue of Mr. Shaw’s connection with Colonial Williamsburg”[38] and “the fact that they are the handiwork of Mr. Shaw, which…will make them quite valuable to Colonial Williamsburg in the future.”[39] Shaw’s sketches were purchased and accepted into the research archives of Colonial Williamsburg’s Architectural Department between November 1945 and January 1946. These drawings are now part of the Architectural Drawings Collection in the Special Collections wing of the Colonial Williamsburg Foundation’s John D. Rockefeller Jr. Library. While a separate collection of Shaw’s personal papers and drawings also reside within the Smithsonian Institution’s Archives of American Art in Washington, D.C.,[40] the Colonial Williamsburg Foundation is proud to possess the majority of Mr. Shaw’s drawings and correspondence associated with his meticulous and pioneering work on Williamsburg’s restoration. ENDNOTES [1] George H. Yetter, “Thomas Mott Shaw, F.A.I.A., 1878-1965” unpublished biography, Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation (Williamsburg, Va.: The Colonial Williamsburg Foundation). [2] Ibid. [3] Henry F. Withey and Elsie Rathburn Withey, Biographical Dictionary of American Architects [Deceased] (Los Angeles: Hennessey &amp; Ingalls, Inc., 1970), 381-382. [4] Yetter, “Thomas Mott Shaw, F.A.I.A., 1878-1965.” [5] George H. Yetter, handwritten notes compiled from Thomas Mott Shaw Papers (in Archives of American Art, Smithsonian Institution, gift of Sarah Quinan Shaw Johnson, Concord, Ma., 1975), Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation (Williamsburg, Va.: The Colonial Williamsburg Foundation). [6] Ibid.; see also “Colonial Williamsburg Logbook” biographical sheet on Thomas Mott Shaw, dated 15 March 1947, Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation (Williamsburg, Va.: The Colonial Williamsburg Foundation). [7] George H. Yetter, “Designers of Beauty: Academic Training and Williamsburg’s Architectural Restoration,” Colonial Williamsburg Journal (Winter 2012): 58. [8] Yetter, handwritten notes compiled from Thomas Mott Shaw Papers; see also “Colonial Williamsburg Logbook” biographical sheet. [9] Will Molineux, “The Architect of Colonial Williamsburg: William Graves Perry,” Colonial Williamsburg Journal (Autumn 2004), 61. [10] “Colonial Williamsburg Logbook” biographical sheet. [11] Fred Frechette, “Work on Restoration Started as ‘Bit of Fun,’” Richmond Times-Dispatch (Richmond, Va.), 21 May 1956, page number unknown, Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation. [12] Yetter, “Thomas Mott Shaw, F.A.I.A., 1878-1965.” [13] Ibid. (T.M. Shaw quote excerpted from “Reminiscences of Thomas Mott Shaw,” Colonial Williamsburg Foundation Archives, Oral History Collection, 11), Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation (Williamsburg, Va.: The Colonial Williamsburg Foundation). [14] Frechette, “Work on Restoration Started as ‘Bit of Fun.’” [15] George H. Yetter, “Thomas Mott Shaw” typewritten research notes, Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation (Williamsburg, Va.: The Colonial Williamsburg Foundation). [16] Molineux, “The Architect of Colonial Williamsburg,” 63. [17] Ibid. [18] Ibid. [19] Yetter, “Thomas Mott Shaw” typewritten research notes. [20] Molineux, 63; see also Frechette, “Work on Restoration Started as ‘Bit of Fun.’” [21] Molineux, 63. [22] Frechette, “Work on Restoration Started as ‘Bit of Fun.’” [23] Ibid. [24] Mary Miley Theobald, “The Colonial Revival: The Past that Never Dies,” Colonial Williamsburg Journal (Summer 2002), 81. [25] Ibid., 81. [26] Ibid., 84. [27] Ibid., 81. [28] Ibid., 84. [29] Yetter, “Thomas Mott Shaw” typewritten research notes. [30] Frechette, “Work on Restoration Started as ‘Bit of Fun.’” [31] Ibid. [32] Yetter, “Thomas Mott Shaw, F.A.I.A., 1878-1965.” [33] Frechette, “Work on Restoration Started as ‘Bit of Fun.’” [34]Carl Lounsbury, “Bracken Tenement: Block 2, Building 52,” Colonial Williamsburg Foundation website, n.d., http://research.history.org/Architectural_Research/Research_Articles/ThemeBldgs/Bracken.cfm (accessed 5 May 2014). [35] Letter from Thomas Mott Shaw to Vernon Geddy of Williamsburg Restoration, Inc., 25 October 1944, Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation. [36] Staff memo from B.W. Norton to Vernon Geddy of Williamsburg Restoration, Inc., 1 November 1945, Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation. [37] Staff memo from J.A. Upshur to Kenneth Chorley of Williamsburg Restoration, Inc., 12 January 1946, Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation. [38] Ibid. [39] Ibid. [40] Letter from Michael A. Grimes (archivist, Smithsonian Institution, Archives of American Art) to George H. Yetter (Associate Curator of Architectural Drawings, Colonial Williamsburg Foundation), 2 August 1989, Thomas Mott Shaw research folder, Special Collections, John D. Rockefeller Jr. Library, Colonial Williamsburg Foundation. SUGGESTIONS FOR FURTHER READING Chappell, Edward A. “Architects of Colonial Williamsburg” in Encyclopedia of Southern Culture, ed. by Charles Reagan Wilson, William R. Ferris, and Ann J. Adadie. Chapel Hill: University of North Carolina Press, 1989, 59-61. Greenspan, Anders. Creating Colonial Williamsburg: The Restoration of Virginia’s Eighteenth-Century Capitol. Chapel Hill: The University of North Carolina Press, 2002. Hosmer, Charles Bridgham, and National Trust for Historic Preservation in the United States. Preservation Comes of Age: From Williamsburg to the National Trust, 1926-1949, Vol. 1. Charlottesville: Published for the Preservation Press, National Trust for Historic Preservation in the United States by the University Press of Virginia, 1981. Kimball, Fiske, et al. The Restoration of Colonial Williamsburg in Virginia. New York: F.W. Dodge Corporation, 1935. Molineux, Will. “The Architect of Colonial Williamsburg: William Graves Perry,” Colonial Williamsburg Journal (August 2004): 58-65. Theobald, Mary Miley. “The Colonial Revival: The Past that Never Dies,” Colonial Williamsburg Journal (Summer 2002): 81-85. Yetter, George Humphrey. “Designers of Beauty: Academic Training and Williamsburg’s Architectural Restoration,” Colonial Williamsburg Journal (Winter 2012): 54-60. Yetter, George Humphrey. Williamsburg Before and After: The Rebirth of Virginia's Colonial Capital. Williamsburg, Va.: Colonial Williamsburg Foundation, 1988. 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 Graphite on paper Physical Dimensions The actual physical size of the original image. 31 x 45.5 cm 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 Entrance Subject The topic of the resource Raleigh Tavern (Williamsburg, Va.) Block 17. Building 06. Historic buildings - Virginia - Williamsburg Architecture, Colonial - Virginia - Williamsburg Taverns (Inns) - Virginia - Williamsburg Description An account of the resource <p>Exterior of the Raleigh Tavern, view of the front entrance looking north from across Duke of Gloucester Street, 1933. The tavern's signboard stands in the foreground to the left, while in the background, a gowned female costumed interpreter (once referred to as a "hostess") is shown standing to the right of the building's entrance. A lead bust of Sir Walter Raleigh, the noted navigator-explorer, is featured in the broken pediment above the tavern's front doors.</p> <p>The Raleigh Tavern was the frequent scene of both jollity and consequence, and was "....the foremost of Williamsburg's taverns in the eighteenth century. Established about 1717, the Raleigh Tavern grew in size and reputation through the years. Letters, diaries, newspaper advertisements, and other records indicate that the Raleigh was one of the most important taverns in colonial Virginia. It served as a center for social, commercial, and political gatherings; small private and large public dinners; lectures and exhibitions; and auctions of merchandise, land, and the enslaved." 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>(Source: Michael Olmert and Suzanne Coffman, <em>Official Guide to Colonial Williamsburg</em> [Williamsburg, VA: The Colonial Williamsburg Foundation, 2007], 60).</p> Creator An entity primarily responsible for making the resource Shaw, Thomas Mott Date A point or period of time associated with an event in the lifecycle of the resource 1933 Date Created Date of creation of the resource. 1933 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 D2008-COPY-1014-1054 Rights Holder A person or organization owning or managing rights over the resource. Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation Benches Busts Chimneys Colonial Architecture Costumed Interpreters Dentils Dormer Windows Dormers Duke of Gloucester Street Exteriors Historic Buildings Hitching Posts Hostesses Inns Ordinaries Pediments Raleigh Tavern Shutters Signboards Signs Sir Walter Raleigh Stairs Taverns Thomas Mott Shaw Virginia Weatherboarding Williamsburg https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/665c01073162784a7e4b191afcdcd2b2.jpg?Expires=1780531200&Signature=tEsQTilU1vZ0jhthUCvFANgQNm%7E8RTp6ZU4bBsMaimBQTdArX%7EH0iGQw9CgMjUp9NLgLLfHEbgOt85zIM8yV2SieEJXKTohz8L2GWvtBxUY4JwLYODGqQKxKl%7EEQWIlHn8rQYzCHMHdRgh-V9qQzkmCWce1ua3c0d1IiQHbcOtdlbiI4yFkZfurnERGt%7Evz2SzYLUXENoQuiLYKvxOPnffPURZsiFQdvhD7ozxPpeanr2K1ZAr%7Ew71ZrTHyLVQ051Q01y9tIx5bDEt5H0VhYNL%7Ep0p814jvQ1s9u3Vmp%7Er5gKKgSwm0GJsLp03iAIocBkoiU6y5q8fSa0GhAFcdWJQ__&Key-Pair-Id=K6UGZS9ZTDSZM 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 &amp; 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 &amp; Walker, McKim, Mead, &amp; 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 https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/2fea3877384238c15fcfb9818f1b7ab4.jpg?Expires=1780531200&Signature=mb6ZDvzx%7E5CAp9iSDWGdHO9bzMqabU5Wi1hsXxfGB-kcQu2-owNzrW74%7E5KMCoIU7s-fSWi4N6YLfEC8aafYha-yDxYCNBZeAI%7EPRC4D6p2PUgkujFjaMBYi%7EmyDKxLtPXz484SpLb0KWCzKk4dtvHPByVGM24KJiDJN%7EPTOhyRaUUwh5eHGmEOva7YqBhX%7EQckf2D2hWh4rDTk8XpaXU2yTtPWFUbSLolG3Xc3NJn5FHlVtBb%7ExBxTmbjgyJIBHH9hrtQU-2-78w08lnEZsnv3QMv92AbEK7JT77kgBE9Dj-CMsjP88bCLSo6NPqROdSzb1ToP35e52ek7AECfC7w__&Key-Pair-Id=K6UGZS9ZTDSZM e9f90f21202ec99be3513e59c3733c15 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 &amp; 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 &amp; Walker, McKim, Mead, &amp; 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