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                  <text>Arthur A. Shurcliff [ne Shurtleff] (1870 – 1957) was the Colonial Williamsburg Foundation’s first landscape architect. A student of Frederick Law Olmsted, Sr., considered the father of landscape architecture in America, Shurcliff’s Williamsburg gardens are recognized as consummate examples of the Colonial Revival style.&#13;
&#13;
Record photography played an important role in the research process undertaken to restore Williamsburg’s historic district to its eighteenth century appearance. In addition to having professional contract photographers systematically produce pre-restoration and progress photos of each building site, the members of the architectural team comprising the Williamsburg office of architects Perry, Shaw, and Hepburn also took their own separate series of images to aid their specific projects. Assembled into a series of five volumes labeled "Williamsburg Record Photographs," Shurcliff’s photos document pre-restoration scenes of Williamsburg and archaeological investigations underway, as well as preliminary restoration or reconstruction work on structures, along with recreation of garden paths and plantings. Before beginning landscape work, Shurcliff carefully analyzed existing garden features at each site, examined any archaeological discoveries connected to garden layouts, and studied extant eighteenth-century sites throughout tidewater Virginia to aid with design precedents.</text>
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                  <text>Special Collections, John D. Rockefeller Jr. Library, The Colonial Williamsburg Foundation</text>
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              <text>Gelatin silver print mounted on linen  </text>
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                <text>Special Collections, John D. RockefellerJr. Library, The Colonial Williamsburg Foundation.</text>
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                  <text>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. &#13;
&#13;
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.&#13;
&#13;
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. &#13;
&#13;
 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.&#13;
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                <text>Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation</text>
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                <text>A popular restaurant for tourists in the 1930s, the Travis House stood for a period of time along Duke of Gloucester Street on the site formerly occupied by the Palace Theater. Its menu featured dishes inspired by colonial recipes. The structure moved back to its original location at the northeast corner of Francis and Henry Streets in the early 1950s. &#13;
&#13;
 Colonel Edward Champion Travis built the home in 1765 and it acquired several additions as successive owners occupied the site. Travis served in the House of Burgesses and was its most prominent colonial occupant. The house became a residence for superintendents of Eastern State Hospital in the nineteenth and early twentieth centuries.&#13;
&#13;
 Eastern State Hospital turned the building over to the Williamsburg Restoration in 1929 and this led to its temporary move to Duke of Gloucester Street to become a restaurant between 1930-1951.&#13;
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                  <text>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. &#13;
&#13;
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.&#13;
&#13;
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. &#13;
&#13;
 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.&#13;
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                <text>Special Collections, John D. Rockefeller Jr. Library, The Colonial Williamsburg Foundation</text>
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                  <text>Selections from the Postcard Collection</text>
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                  <text>The Postcard Collection housed at the John D. Rockefeller Jr. Library consists of postcards of Williamsburg and surrounding areas dating from the late 19th-century to the present. It includes examples of early postcards of the town prior to its restoration by John D. Rockefeller Jr. In addition, it encompasses many examples of official postcards produced by Colonial Williamsburg for tourists. A smaller number of postcards of neighboring historic sites, such as Jamestown and Yorktown, are also present.&#13;
&#13;
The selections included here are primarily vintage postcards of Colonial Williamsburg and surrounding tourist attractions ranging in date from 1898 to the 1950s.  Early cards in the collection illustrate a range of common postcard types and reproduction techniques. The history of the postcard's development as a souvenir, as well as the growth of tourism in Williamsburg, can be traced via Colonial Williamsburg's Postcard Collection.&#13;
&#13;
During what is known as the Pioneer Era from 1870-1898, the first form of postcard, featuring an illustration on one side and an undivided back on the other, did not allow the sender to include a note, unless it was written across a portion of the image on the front. The majority of pioneering postcard formats served as advertisements up until the 1893 Columbia Exposition, when postcards first appeared as souvenirs for Exposition visitors to purchase.&#13;
&#13;
The Private Mailing Card Era from 1898-1901 is characterized by cards printed with the notice "Private Mailing Card Authorized by Act of Congress on May 19, 1898." Backs of the cards remained undivided and purchasers could mail the cards for a cost of one cent. Several examples of postcards from this era are present in the collection. They include some of the earliest instances of souvenir cards created to promote Williamsburg historic sites, such as the Courthouse, Bruton Parish Church, the Powder Magazine, and the Capitol site. European rather than American printers created many of these postcards due to their superb skills. Chromo-lithograph cards of this era exhibit extremely rich colors.&#13;
&#13;
By the time the Jamestown Exposition took place in 1907, postcard production had entered the Divided Back Era, which continued until 1915. Modified postcard backs offered a segment on the left side for senders to pen a brief message. Production of cards gradually shifted to more American printers. The Jamestown Exposition provided a strong impetus for promotion of other historic sites that attendees might also stop at along the way. A series of postcards commemorating Williamsburg area historic sites in conjunction with the 1907 celebration are excellent examples of very early divided back cards.&#13;
&#13;
The Early Modern Era between 1916-1930 led to an increase in production of souvenir cards relating to the Williamsburg area. One type of format popular in this period is the "White Border Card" characterized by a view surrounded with a white border. Real photo cards also began to appear that featured photographs, rather than prints, of local surroundings. In the era before Colonial Williamsburg operated official gift shops, tourists counted on the Cole News Shop as their source for maps, postcards, travel guides, and souvenirs. Mr. Henry Dennison Cole served as the proprietor. His business stood on the site of the present day Taliaferro-Cole Shop. He produced his own postcards of historic sites in the area being restored by the Association for the Preservation of Virginia Antiquities and other groups of preservation minded citizens. Several examples of cards published by the Cole Shop can be found in the collection and offer a glimpse of attractions popular with early 20th-century tourists, such as the old Masonic Hall and Custis Kitchen.&#13;
&#13;
Once Colonial Williamsburg opened a core group of exhibition buildings to the public in the early 1930s, a new era dawned in which the museum began production of official postcards as souvenirs for visitors. Photographs by F.S. Lincoln, an architectural photographer hired on a contract basis in 1935 to take some of the first promotional photos of Colonial Williamsburg exhibition buildings, appeared on a number of real photo postcards issued in the late 1930s. Both examples of postcards bearing his photos, as well as his actual photograph collection, reside at the Rockefeller Library.&#13;
&#13;
The Albertype Company of Brooklyn, New York, produced one of the earliest official postcard series highlighting Colonial Williamsburg exhibition buildings, costumed interpreters, Williamsburg Inn and Lodge, and Merchants Square. In addition to holding numerous examples of Albertype cards, the Rockefeller Library also houses the corresponding photographic prints used to generate the postcards.  Albertype cards are characterized by sepia toned images that show exterior and interior views of exhibition buildings, as well as some of the earliest scenes of African Americans in costume demonstrating colonial cooking techniques.&#13;
&#13;
For further information about Williamsburg postcards, please consult:&#13;
&#13;
Preacher, Kristopher J. "Williamsburg in Vintage Postcards." Charleston: Arcadia Publishing, 2002.&#13;
&#13;
Reisweber, Kurt. "Williamsburg in Old Post Cards." Colonial Williamsburg XXI, No.2, (June/July 1999): 52-57.</text>
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                <text>Part of the Albertype Company series, this postcard depicts the John Blair House on Duke of Gloucester Street soon after its restoration to its eighteenth-century appearance.&#13;
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The card's caption reads: "Throughout the eighteenth century this colonial house, which was built in 1745-1747, was the residence of the Blair family. It has been restored."&#13;
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AV-97-05-04-V</text>
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	As part of his field research, Barrows--at the wheel of his 1928 Buick roadster "Lucy"--photographed numerous buildings and plantations throughout the Tidewater region, including sites in the now restored historic area of Williamsburg, Bacon's Castle, Cleve, Carter's Grove, King William Courthouse, Mt. Airy, Mt. Vernon, Rosewell, Stratford Hall, Sabine Hall, Shirley, Little England, the U.S. Capitol, and the British Embassy in Washington, D.C.  These photographs form the core of the collection. The John A. Barrows Photograph Collection is an important adjunct to existing groups of photographic documentation for buildings in Williamsburg's historic area and of Virginia architecture.&#13;
&#13;
SCOPE AND CONTENTS&#13;
&#13;
Black and white photographs, negatives, postcards, and miscellaneous items of Norfolk native John Alden Barrows (b. ca. 1905, d. 1931), architect for the Colonial Williamsburg Restoration. The photographs--some taken by Barrows, Thomas Waterman, Milton Grigg and others--remain in their original order, which follows a somewhat erratic alphabetical arrangement by site/subject.&#13;
	&#13;
The John A. Barrows Photograph Collection contains photoprints, taken mainly in Virginia and South Carolina, negatives, portraits, and personal papers and objects. The Photoprints series comprises the bulk of the collection, numbering close to 800 items. The photos, taken by architect and photographer John A. Barrows, display homes, churches, college buildings, and other structures along the eastern seaboard of the United States. Most of the photos were taken in Virginia and South Carolina, but other locations include New Jersey and Maryland. The prints were made in two sizes, 2.5x4 inches and 5x7 inches. The Negatives series has not been inventoried. John A. Barrows is the subject of the portraits found in the Portraits Series. The five images were all taken at different times. The final series, Personal Papers and Objects, includes some of Barrows' writings as well as memorabilia from trips and celebrations.</text>
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&#13;
SCOPE AND CONTENTS&#13;
&#13;
Black and white photographs, negatives, postcards, and miscellaneous items of Norfolk native John Alden Barrows (b. ca. 1905, d. 1931), architect for the Colonial Williamsburg Restoration. The photographs--some taken by Barrows, Thomas Waterman, Milton Grigg and others--remain in their original order, which follows a somewhat erratic alphabetical arrangement by site/subject.&#13;
	&#13;
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&#13;
	As part of his field research, Barrows--at the wheel of his 1928 Buick roadster "Lucy"--photographed numerous buildings and plantations throughout the Tidewater region, including sites in the now restored historic area of Williamsburg, Bacon's Castle, Cleve, Carter's Grove, King William Courthouse, Mt. Airy, Mt. Vernon, Rosewell, Stratford Hall, Sabine Hall, Shirley, Little England, the U.S. Capitol, and the British Embassy in Washington, D.C.  These photographs form the core of the collection. The John A. Barrows Photograph Collection is an important adjunct to existing groups of photographic documentation for buildings in Williamsburg's historic area and of Virginia architecture.&#13;
&#13;
SCOPE AND CONTENTS&#13;
&#13;
Black and white photographs, negatives, postcards, and miscellaneous items of Norfolk native John Alden Barrows (b. ca. 1905, d. 1931), architect for the Colonial Williamsburg Restoration. The photographs--some taken by Barrows, Thomas Waterman, Milton Grigg and others--remain in their original order, which follows a somewhat erratic alphabetical arrangement by site/subject.&#13;
	&#13;
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&#13;
	As part of his field research, Barrows--at the wheel of his 1928 Buick roadster "Lucy"--photographed numerous buildings and plantations throughout the Tidewater region, including sites in the now restored historic area of Williamsburg, Bacon's Castle, Cleve, Carter's Grove, King William Courthouse, Mt. Airy, Mt. Vernon, Rosewell, Stratford Hall, Sabine Hall, Shirley, Little England, the U.S. Capitol, and the British Embassy in Washington, D.C.  These photographs form the core of the collection. The John A. Barrows Photograph Collection is an important adjunct to existing groups of photographic documentation for buildings in Williamsburg's historic area and of Virginia architecture.&#13;
&#13;
SCOPE AND CONTENTS&#13;
&#13;
Black and white photographs, negatives, postcards, and miscellaneous items of Norfolk native John Alden Barrows (b. ca. 1905, d. 1931), architect for the Colonial Williamsburg Restoration. The photographs--some taken by Barrows, Thomas Waterman, Milton Grigg and others--remain in their original order, which follows a somewhat erratic alphabetical arrangement by site/subject.&#13;
	&#13;
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&#13;
SCOPE AND CONTENTS&#13;
&#13;
Black and white photographs, negatives, postcards, and miscellaneous items of Norfolk native John Alden Barrows (b. ca. 1905, d. 1931), architect for the Colonial Williamsburg Restoration. The photographs--some taken by Barrows, Thomas Waterman, Milton Grigg and others--remain in their original order, which follows a somewhat erratic alphabetical arrangement by site/subject.&#13;
	&#13;
The John A. Barrows Photograph Collection contains photoprints, taken mainly in Virginia and South Carolina, negatives, portraits, and personal papers and objects. The Photoprints series comprises the bulk of the collection, numbering close to 800 items. The photos, taken by architect and photographer John A. Barrows, display homes, churches, college buildings, and other structures along the eastern seaboard of the United States. Most of the photos were taken in Virginia and South Carolina, but other locations include New Jersey and Maryland. The prints were made in two sizes, 2.5x4 inches and 5x7 inches. The Negatives series has not been inventoried. John A. Barrows is the subject of the portraits found in the Portraits Series. The five images were all taken at different times. The final series, Personal Papers and Objects, includes some of Barrows' writings as well as memorabilia from trips and celebrations.</text>
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	John A. Barrows joined the staff of the Williamsburg office of Boston architects Perry, Shaw &amp; Hepburn as a draftsman in the early days of the restoration.  Remaining with them until his untimely death, Barrows assisted in the restoration of the College of William and Mary's Wren Building, and was involved with design work for the reconstructed Raleigh Tavern, Capitol, and Governor's Palace. In addition to his research and restoration work, John A. Barrows co-authored "The Domestic Colonial Architecture of Tidewater Virginia" with colleague Thomas Waterman.  &#13;
&#13;
	As part of his field research, Barrows--at the wheel of his 1928 Buick roadster "Lucy"--photographed numerous buildings and plantations throughout the Tidewater region, including sites in the now restored historic area of Williamsburg, Bacon's Castle, Cleve, Carter's Grove, King William Courthouse, Mt. Airy, Mt. Vernon, Rosewell, Stratford Hall, Sabine Hall, Shirley, Little England, the U.S. Capitol, and the British Embassy in Washington, D.C.  These photographs form the core of the collection. The John A. Barrows Photograph Collection is an important adjunct to existing groups of photographic documentation for buildings in Williamsburg's historic area and of Virginia architecture.&#13;
&#13;
SCOPE AND CONTENTS&#13;
&#13;
Black and white photographs, negatives, postcards, and miscellaneous items of Norfolk native John Alden Barrows (b. ca. 1905, d. 1931), architect for the Colonial Williamsburg Restoration. The photographs--some taken by Barrows, Thomas Waterman, Milton Grigg and others--remain in their original order, which follows a somewhat erratic alphabetical arrangement by site/subject.&#13;
	&#13;
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	John A. Barrows joined the staff of the Williamsburg office of Boston architects Perry, Shaw &amp; Hepburn as a draftsman in the early days of the restoration.  Remaining with them until his untimely death, Barrows assisted in the restoration of the College of William and Mary's Wren Building, and was involved with design work for the reconstructed Raleigh Tavern, Capitol, and Governor's Palace. In addition to his research and restoration work, John A. Barrows co-authored "The Domestic Colonial Architecture of Tidewater Virginia" with colleague Thomas Waterman.  &#13;
&#13;
	As part of his field research, Barrows--at the wheel of his 1928 Buick roadster "Lucy"--photographed numerous buildings and plantations throughout the Tidewater region, including sites in the now restored historic area of Williamsburg, Bacon's Castle, Cleve, Carter's Grove, King William Courthouse, Mt. Airy, Mt. Vernon, Rosewell, Stratford Hall, Sabine Hall, Shirley, Little England, the U.S. Capitol, and the British Embassy in Washington, D.C.  These photographs form the core of the collection. The John A. Barrows Photograph Collection is an important adjunct to existing groups of photographic documentation for buildings in Williamsburg's historic area and of Virginia architecture.&#13;
&#13;
SCOPE AND CONTENTS&#13;
&#13;
Black and white photographs, negatives, postcards, and miscellaneous items of Norfolk native John Alden Barrows (b. ca. 1905, d. 1931), architect for the Colonial Williamsburg Restoration. The photographs--some taken by Barrows, Thomas Waterman, Milton Grigg and others--remain in their original order, which follows a somewhat erratic alphabetical arrangement by site/subject.&#13;
	&#13;
The John A. Barrows Photograph Collection contains photoprints, taken mainly in Virginia and South Carolina, negatives, portraits, and personal papers and objects. The Photoprints series comprises the bulk of the collection, numbering close to 800 items. The photos, taken by architect and photographer John A. Barrows, display homes, churches, college buildings, and other structures along the eastern seaboard of the United States. Most of the photos were taken in Virginia and South Carolina, but other locations include New Jersey and Maryland. The prints were made in two sizes, 2.5x4 inches and 5x7 inches. The Negatives series has not been inventoried. John A. Barrows is the subject of the portraits found in the Portraits Series. The five images were all taken at different times. The final series, Personal Papers and Objects, includes some of Barrows' writings as well as memorabilia from trips and celebrations.</text>
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	John A. Barrows joined the staff of the Williamsburg office of Boston architects Perry, Shaw &amp; Hepburn as a draftsman in the early days of the restoration.  Remaining with them until his untimely death, Barrows assisted in the restoration of the College of William and Mary's Wren Building, and was involved with design work for the reconstructed Raleigh Tavern, Capitol, and Governor's Palace. In addition to his research and restoration work, John A. Barrows co-authored "The Domestic Colonial Architecture of Tidewater Virginia" with colleague Thomas Waterman.  &#13;
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	As part of his field research, Barrows--at the wheel of his 1928 Buick roadster "Lucy"--photographed numerous buildings and plantations throughout the Tidewater region, including sites in the now restored historic area of Williamsburg, Bacon's Castle, Cleve, Carter's Grove, King William Courthouse, Mt. Airy, Mt. Vernon, Rosewell, Stratford Hall, Sabine Hall, Shirley, Little England, the U.S. Capitol, and the British Embassy in Washington, D.C.  These photographs form the core of the collection. The John A. Barrows Photograph Collection is an important adjunct to existing groups of photographic documentation for buildings in Williamsburg's historic area and of Virginia architecture.&#13;
&#13;
SCOPE AND CONTENTS&#13;
&#13;
Black and white photographs, negatives, postcards, and miscellaneous items of Norfolk native John Alden Barrows (b. ca. 1905, d. 1931), architect for the Colonial Williamsburg Restoration. The photographs--some taken by Barrows, Thomas Waterman, Milton Grigg and others--remain in their original order, which follows a somewhat erratic alphabetical arrangement by site/subject.&#13;
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The John A. Barrows Photograph Collection contains photoprints, taken mainly in Virginia and South Carolina, negatives, portraits, and personal papers and objects. The Photoprints series comprises the bulk of the collection, numbering close to 800 items. The photos, taken by architect and photographer John A. Barrows, display homes, churches, college buildings, and other structures along the eastern seaboard of the United States. Most of the photos were taken in Virginia and South Carolina, but other locations include New Jersey and Maryland. The prints were made in two sizes, 2.5x4 inches and 5x7 inches. The Negatives series has not been inventoried. John A. Barrows is the subject of the portraits found in the Portraits Series. The five images were all taken at different times. The final series, Personal Papers and Objects, includes some of Barrows' writings as well as memorabilia from trips and celebrations.</text>
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	John A. Barrows joined the staff of the Williamsburg office of Boston architects Perry, Shaw &amp; Hepburn as a draftsman in the early days of the restoration.  Remaining with them until his untimely death, Barrows assisted in the restoration of the College of William and Mary's Wren Building, and was involved with design work for the reconstructed Raleigh Tavern, Capitol, and Governor's Palace. In addition to his research and restoration work, John A. Barrows co-authored "The Domestic Colonial Architecture of Tidewater Virginia" with colleague Thomas Waterman.  &#13;
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&#13;
SCOPE AND CONTENTS&#13;
&#13;
Black and white photographs, negatives, postcards, and miscellaneous items of Norfolk native John Alden Barrows (b. ca. 1905, d. 1931), architect for the Colonial Williamsburg Restoration. The photographs--some taken by Barrows, Thomas Waterman, Milton Grigg and others--remain in their original order, which follows a somewhat erratic alphabetical arrangement by site/subject.&#13;
	&#13;
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SCOPE AND CONTENTS&#13;
&#13;
Black and white photographs, negatives, postcards, and miscellaneous items of Norfolk native John Alden Barrows (b. ca. 1905, d. 1931), architect for the Colonial Williamsburg Restoration. The photographs--some taken by Barrows, Thomas Waterman, Milton Grigg and others--remain in their original order, which follows a somewhat erratic alphabetical arrangement by site/subject.&#13;
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The John A. Barrows Photograph Collection contains photoprints, taken mainly in Virginia and South Carolina, negatives, portraits, and personal papers and objects. The Photoprints series comprises the bulk of the collection, numbering close to 800 items. The photos, taken by architect and photographer John A. Barrows, display homes, churches, college buildings, and other structures along the eastern seaboard of the United States. Most of the photos were taken in Virginia and South Carolina, but other locations include New Jersey and Maryland. The prints were made in two sizes, 2.5x4 inches and 5x7 inches. The Negatives series has not been inventoried. John A. Barrows is the subject of the portraits found in the Portraits Series. The five images were all taken at different times. The final series, Personal Papers and Objects, includes some of Barrows' writings as well as memorabilia from trips and celebrations.</text>
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SCOPE AND CONTENTS&#13;
&#13;
Black and white photographs, negatives, postcards, and miscellaneous items of Norfolk native John Alden Barrows (b. ca. 1905, d. 1931), architect for the Colonial Williamsburg Restoration. The photographs--some taken by Barrows, Thomas Waterman, Milton Grigg and others--remain in their original order, which follows a somewhat erratic alphabetical arrangement by site/subject.&#13;
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SCOPE AND CONTENTS&#13;
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Black and white photographs, negatives, postcards, and miscellaneous items of Norfolk native John Alden Barrows (b. ca. 1905, d. 1931), architect for the Colonial Williamsburg Restoration. The photographs--some taken by Barrows, Thomas Waterman, Milton Grigg and others--remain in their original order, which follows a somewhat erratic alphabetical arrangement by site/subject.&#13;
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SCOPE AND CONTENTS&#13;
&#13;
Black and white photographs, negatives, postcards, and miscellaneous items of Norfolk native John Alden Barrows (b. ca. 1905, d. 1931), architect for the Colonial Williamsburg Restoration. The photographs--some taken by Barrows, Thomas Waterman, Milton Grigg and others--remain in their original order, which follows a somewhat erratic alphabetical arrangement by site/subject.&#13;
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                <text>A view of one of the entrance doors to the reconstructed Raleigh Tavern,  Williamsburg, Virginia</text>
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                <text>Bar-477. See also 1991-1495 CN.</text>
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                  <text>BIOGRAPHICAL SKETCH&#13;
	John A. Barrows joined the staff of the Williamsburg office of Boston architects Perry, Shaw &amp; Hepburn as a draftsman in the early days of the restoration.  Remaining with them until his untimely death, Barrows assisted in the restoration of the College of William and Mary's Wren Building, and was involved with design work for the reconstructed Raleigh Tavern, Capitol, and Governor's Palace. In addition to his research and restoration work, John A. Barrows co-authored "The Domestic Colonial Architecture of Tidewater Virginia" with colleague Thomas Waterman.  &#13;
&#13;
	As part of his field research, Barrows--at the wheel of his 1928 Buick roadster "Lucy"--photographed numerous buildings and plantations throughout the Tidewater region, including sites in the now restored historic area of Williamsburg, Bacon's Castle, Cleve, Carter's Grove, King William Courthouse, Mt. Airy, Mt. Vernon, Rosewell, Stratford Hall, Sabine Hall, Shirley, Little England, the U.S. Capitol, and the British Embassy in Washington, D.C.  These photographs form the core of the collection. The John A. Barrows Photograph Collection is an important adjunct to existing groups of photographic documentation for buildings in Williamsburg's historic area and of Virginia architecture.&#13;
&#13;
SCOPE AND CONTENTS&#13;
&#13;
Black and white photographs, negatives, postcards, and miscellaneous items of Norfolk native John Alden Barrows (b. ca. 1905, d. 1931), architect for the Colonial Williamsburg Restoration. The photographs--some taken by Barrows, Thomas Waterman, Milton Grigg and others--remain in their original order, which follows a somewhat erratic alphabetical arrangement by site/subject.&#13;
	&#13;
The John A. Barrows Photograph Collection contains photoprints, taken mainly in Virginia and South Carolina, negatives, portraits, and personal papers and objects. The Photoprints series comprises the bulk of the collection, numbering close to 800 items. The photos, taken by architect and photographer John A. Barrows, display homes, churches, college buildings, and other structures along the eastern seaboard of the United States. Most of the photos were taken in Virginia and South Carolina, but other locations include New Jersey and Maryland. The prints were made in two sizes, 2.5x4 inches and 5x7 inches. The Negatives series has not been inventoried. John A. Barrows is the subject of the portraits found in the Portraits Series. The five images were all taken at different times. The final series, Personal Papers and Objects, includes some of Barrows' writings as well as memorabilia from trips and celebrations.</text>
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                  <text>Another collection of photos purchased by the Boston architectural firm of Perry, Shaw &amp; Hepburn in 1930 originated with photographer and town resident Edward A. Beckwith. A letter preserved in Corporate Archives indicates that Mr. Beckwith dropped off a selection of images with Dr. W.A.R. Goodwin who forwarded a list of their subjects to Perry, Shaw &amp; Hepburn for their consideration. Beckwith’s photos date to 1926-1933, a critical period in the town’s transformation. Tremendous changes began to occur in rapid succession as properties were acquired, buildings moved or torn down, foundations unearthed, and the first exhibition building, the Raleigh Tavern, opened in September 1932. While he was never on the architectural team’s payroll, Beckwith’s images attracted interest and became part of the growing archive assembled to aid ongoing restoration work.&#13;
&#13;
Beckwith’s subjects encompass a broader geographic area and feature many examples of colonial homes in the mid-Atlantic region examined by the architects as part of their fieldwork. It is possible he accompanied them on some of their trips and helped to document extant structures. His images of Williamsburg are purely architectural in focus and highlight aspects of surviving colonial architecture under study. They offer a contrast to other pre-restoration photo collections which give glimpses into town life with street vistas, carriages, automobiles, and residents. As the third decade of the twentieth century started in Williamsburg, Beckwith stood poised with his camera to change the focus to the architectural transformations that were soon to take place. Evidence of early steps towards investigating structures and removing nineteenth-century additions and modifications is visible in several of his compositions. His contrasting views of the George Wythe House in 1926 and 1929 document its transition from a dilapidated and deteriorating building to the headquarters for Dr. Goodwin’s office to oversee restoration activities.&#13;
&#13;
The collection encompasses black and white photographs and associated negatives documenting extant colonial era architecture throughout the state of Virginia in the late 1920s. They offered crucial visual references of specific architectural features of interest for the restoration of eighteenth century buildings in Williamsburg’s historic area. Williamsburg, Virginia structures depicted include Carter’s Grove, Barraud House, Bassett Hall, John Blair House, Bracken House, Thomas Everard House, Bruton Parish Church, Nelson-Galt House, Prentis Store, Powell House, The Quarter, Peyton Randolph House, Semple House, Tazewell Hall, Travis House, St. George Tucker House, Benjamin Waller House, and George Wythe House. In addition, many architectural sites elsewhere in Virginia that were visited and examined by the architectural team are represented in the photographs. They include Abingdon Church, Auburn, Belleville, Bonne Elms, Elmwood, Glebe House, Green Plains, Claremont Manor, Four Mile Tree, Hayfield, Jamestown Church, Kinloch, Larabee House,  Little England, Lower Brandon, Mount Airy, Mount Clement, Nelson House, Port Royal, Prospect, Rosegill, Shirley, Smith’s Fort, Upper Brandon, Warner Hall, Westover, and Wilton.&#13;
&#13;
All of the photos are 11 x 14 inch gelatin silver prints on paper. Originally presented in two folios, they clearly demonstrate a more direct intent to create aesthetically pleasing images that could possibly be used in a future architectural publication. &#13;
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                <text>Pre-restoration view of the south elevation of the  John Blair House facing Duke of Gloucester Street,  Williamsburg, Virginia, </text>
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                  <text>Another collection of photos purchased by the Boston architectural firm of Perry, Shaw &amp; Hepburn in 1930 originated with photographer and town resident Edward A. Beckwith. A letter preserved in Corporate Archives indicates that Mr. Beckwith dropped off a selection of images with Dr. W.A.R. Goodwin who forwarded a list of their subjects to Perry, Shaw &amp; Hepburn for their consideration. Beckwith’s photos date to 1926-1933, a critical period in the town’s transformation. Tremendous changes began to occur in rapid succession as properties were acquired, buildings moved or torn down, foundations unearthed, and the first exhibition building, the Raleigh Tavern, opened in September 1932. While he was never on the architectural team’s payroll, Beckwith’s images attracted interest and became part of the growing archive assembled to aid ongoing restoration work.&#13;
&#13;
Beckwith’s subjects encompass a broader geographic area and feature many examples of colonial homes in the mid-Atlantic region examined by the architects as part of their fieldwork. It is possible he accompanied them on some of their trips and helped to document extant structures. His images of Williamsburg are purely architectural in focus and highlight aspects of surviving colonial architecture under study. They offer a contrast to other pre-restoration photo collections which give glimpses into town life with street vistas, carriages, automobiles, and residents. As the third decade of the twentieth century started in Williamsburg, Beckwith stood poised with his camera to change the focus to the architectural transformations that were soon to take place. Evidence of early steps towards investigating structures and removing nineteenth-century additions and modifications is visible in several of his compositions. His contrasting views of the George Wythe House in 1926 and 1929 document its transition from a dilapidated and deteriorating building to the headquarters for Dr. Goodwin’s office to oversee restoration activities.&#13;
&#13;
The collection encompasses black and white photographs and associated negatives documenting extant colonial era architecture throughout the state of Virginia in the late 1920s. They offered crucial visual references of specific architectural features of interest for the restoration of eighteenth century buildings in Williamsburg’s historic area. Williamsburg, Virginia structures depicted include Carter’s Grove, Barraud House, Bassett Hall, John Blair House, Bracken House, Thomas Everard House, Bruton Parish Church, Nelson-Galt House, Prentis Store, Powell House, The Quarter, Peyton Randolph House, Semple House, Tazewell Hall, Travis House, St. George Tucker House, Benjamin Waller House, and George Wythe House. In addition, many architectural sites elsewhere in Virginia that were visited and examined by the architectural team are represented in the photographs. They include Abingdon Church, Auburn, Belleville, Bonne Elms, Elmwood, Glebe House, Green Plains, Claremont Manor, Four Mile Tree, Hayfield, Jamestown Church, Kinloch, Larabee House,  Little England, Lower Brandon, Mount Airy, Mount Clement, Nelson House, Port Royal, Prospect, Rosegill, Shirley, Smith’s Fort, Upper Brandon, Warner Hall, Westover, and Wilton.&#13;
&#13;
All of the photos are 11 x 14 inch gelatin silver prints on paper. Originally presented in two folios, they clearly demonstrate a more direct intent to create aesthetically pleasing images that could possibly be used in a future architectural publication. &#13;
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