1 20 143 https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/34d18487a342620fd8508bf3243b3d8a.jpg?Expires=1779926400&Signature=k3y57hr1L4JuS52ILEr8Y3qr3LSnoTu8e88Q%7E-lhKP%7Epy6brKMHV895vIkUPx5bUci53CPIVoZqZlhoOlY7mrNCXX-RmHxXKkHuQZWlWkDYTkXrOq6ra4wOjbwROE--2V1TAzFt%7E-RnRxCeJoCkKVyRm-iiLSmgL5S0YX9Ckn4FsszTJMpQkgfdJZwkGdFaxjKa84h--yngxCI3hfAXfXW7o80GjiHvHoNhHaF%7E-hPMfRNTanAikLs75%7EtFvqpYRnVJV8ZeUV89FpqDaJ7v4Ggu-W%7EArIv8tbsQux6tgFRa8AhK8Cihznr0H5GuAR6MFK2toNj5V3y6FZO5w1mZtTw__&Key-Pair-Id=K6UGZS9ZTDSZM 830eb29e3858a76408fd031b180e9ff8 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 965 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 A & P Store, Also Known As Teterel Shop Subject The topic of the resource Stores, Retail - Virginia - Williamsburg Teterel Shop (Williamsburg, Va.) A&P Food Market (Williamsburg, Va.) Block 18. Building 3A. William Waters Storehouse (Williamsburg, Va.) Historic buildings -- Virginia -- Williamsburg Description An account of the resource When Colonial Williamsburg first opened as a museum in the 1930s, Duke of Gloucester Street consisted of a combination of exhibition buildings and commercial establishments. Several grocers operated small food markets in restored or reconstructed structures. The Teterel Shop, housing the A&P Food Market, offered a place for town residents and tourists to pick up refreshments. A deed records the construction of a shop on the site shortly before 1767. The succession of owners included William Waters, William Holt, and William Coleman. In 1806, Francis Teterel acquired the property and it is his name that was associated with the building when it was first restored. Today it is known as the William Waters Storehouse. 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 LC364P1 Rights Holder A person or organization owning or managing rights over the resource. Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation A&P Food Market Chimneys Cornices Dentils Exteriors F.S. Lincoln Fences Groceries Historic Buildings Hitching Posts Railings Retail Stores Shutters Signboards Signs Stairs Teterel Shop Virginia Weatherboarding William Waters Storehouse Williamsburg https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/dda450f896a2fb97393e7ad0a98a5c2e.jpg?Expires=1779926400&Signature=nYeVyzqAfGo%7EAGRV3rs6YthGSgVhLuG4nJ-v-tumXKuDLmoa81GZ9PU%7EtaylboYnhr4SOrwjEt-E1RntLD9EeY6UtFl2Ms%7E3Lqlhpg48VdmRLBlXwQq8n3GZD%7EKYmOhEI5%7EqhyjMkd-zn4XzwN6HZLCz%7EFltATns%7E1nbkG-PRIOtNnODKxVjnLu2GPMLRRlZwkOPH18m18zsW9fL%7EI6UJBp7u%7ENnKeDmxqAUulavXa3fM-i3TerIRaDk1%7E89s4WBIwr9xDbhKJMXHmPjLoX8lgI%7E1bnWyL%7EsO1D4ed7-ywNT%7E%7EYv7%7EsC-h9a7e2pJ4qnQ92SoFq8Cp%7Ed9Z83-h829Q__&Key-Pair-Id=K6UGZS9ZTDSZM 207e50848e6bd7512a465fd8a1abe593 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 D.N. Davidson Photograph Collection Subject The topic of the resource Historic buildings - Virginia - Williamsburg Architecture, Colonial - Virginia - Williamsburg Black and white photographs Architectural photographs - 1920-1930 Lost architecture - Virginia - Williamsburg Description An account of the resource In 1933, the Williamsburg Holding Corporation acquired a set of over one hundred photographs from Newport News photographer D.A. Davidson. Described in a January 3, 1933 letter by Dr. W.A.R. Goodwin as "...the most valuable photographs which we have...," it formed the nucleus of what would later become an extensive photo archive relating to Williamsburg's restoration. Taken in the Williamsburg, Virginia area, circa 1928, the images offer many pre-restoration views of the town just prior to the commencement of restoration work funded by John D. Rockefeller Jr. Many local businesses, residences, and even streets known to townspeople in the 1920s but demolished or relocated as part of the development of Colonial Williamsburg in the late 1920s and early 1930s are documented in Davidson's photographs. The collection also provides a visual record of the appearance of many of the surviving eighty-eight public and private buildings dating to the eighteenth-century. Date A point or period of time associated with an event in the lifecycle of the resource Circa 1928 Is Part Of A related resource in which the described resource is physically or logically included. D.N. Davidson Photograph Collection Rights Holder A person or organization owning or managing rights over the resource. Special Collections, John D. Rockefeller Jr. Library, The Colonial Williamsburg Foundation Creator An entity primarily responsible for making the resource Davidson, D.N. 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/. Subject The topic of the resource Historic buildings - Virginia - Williamsburg Architecture, Domestic - Virginia - Williamsburg Lost architecture - Virginia - Williamsburg Block 38 Title A name given to the resource African American Houses Description An account of the resource African American houses once located on Block 38, Buildings 20, 21 and 25, Williamsburg, Virginia, prior to their demolition, circa 1928. Creator An entity primarily responsible for making the resource Davidson, D. N. Date A point or period of time associated with an event in the lifecycle of the resource Circa 1928 Date Created Date of creation of the resource. Circa 1928 Is Part Of A related resource in which the described resource is physically or logically included. D. N. Davidson Photograph Collection, AV-2013.2, Box 1, Folder 5 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 D-104 see also 79-30 Rights Holder A person or organization owning or managing rights over the resource. Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation D. N. Davidson Domestic Architecture Lost Architecture Pre-Restoration Tin Roofs Virginia Weatherboarding Williamsburg https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/0ee59e8e49d3b2cef6d44e1771320090.jpg?Expires=1779926400&Signature=WtLo4crsDv63SrBG91R%7ExVBdILbjyU43hqF9Qp3TOagyl3-J1jYO8mungT%7E1no4qmpKVx4lX0EhEEyCZGc57ib0hBE2TdloSueerFKIUjEAtsQ2vdObhfg0b0CFZ%7E39NEKevRsMiof9rlYTDKVS9lSgqZ8iDguNkVLUw-TFKo7WkOR%7E3%7Ed8FJEN0HNH6hE6qLH%7Ean33zSMCJoBcK7y4lIlhQDFVP2pfPmVu2Xb7IPclisKB5GLA%7Ee4sTVwU6Aj3EfR9xCxfkxeqJ68fP2DeFhCk0jgQPgtF5zI-UWGjx9CdTuD-KAAepq4R5gO9Kd6bh0hWLlutZM7lDbExJYDV2Qg__&Key-Pair-Id=K6UGZS9ZTDSZM d5084dc27c1eae5b8a7b425a28222535 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 D.N. Davidson Photograph Collection Subject The topic of the resource Historic buildings - Virginia - Williamsburg Architecture, Colonial - Virginia - Williamsburg Black and white photographs Architectural photographs - 1920-1930 Lost architecture - Virginia - Williamsburg Description An account of the resource In 1933, the Williamsburg Holding Corporation acquired a set of over one hundred photographs from Newport News photographer D.A. Davidson. Described in a January 3, 1933 letter by Dr. W.A.R. Goodwin as "...the most valuable photographs which we have...," it formed the nucleus of what would later become an extensive photo archive relating to Williamsburg's restoration. Taken in the Williamsburg, Virginia area, circa 1928, the images offer many pre-restoration views of the town just prior to the commencement of restoration work funded by John D. Rockefeller Jr. Many local businesses, residences, and even streets known to townspeople in the 1920s but demolished or relocated as part of the development of Colonial Williamsburg in the late 1920s and early 1930s are documented in Davidson's photographs. The collection also provides a visual record of the appearance of many of the surviving eighty-eight public and private buildings dating to the eighteenth-century. Date A point or period of time associated with an event in the lifecycle of the resource Circa 1928 Is Part Of A related resource in which the described resource is physically or logically included. D.N. Davidson Photograph Collection Rights Holder A person or organization owning or managing rights over the resource. Special Collections, John D. Rockefeller Jr. Library, The Colonial Williamsburg Foundation Creator An entity primarily responsible for making the resource Davidson, D.N. 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 African American Houses Subject The topic of the resource Historic buildings - Virginia - Williamsburg Architecture, Domestic - Virginia - Williamsburg Lost architecture - Virginia - Williamsburg Description An account of the resource View of the Dolly Jones House and St. Luke House on Prince George Street prior to their demolition, Williamsburg, Virginia, ca.1928. Creator An entity primarily responsible for making the resource Davidson, D. N. Date A point or period of time associated with an event in the lifecycle of the resource Circa 1928 Date Created Date of creation of the resource. Circa 1928 Is Part Of A related resource in which the described resource is physically or logically included. D. N. Davidson Photograph Collection, AV-2013.2, Box 1, Folder 5 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 D-105 see also 56-CL-134 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 D. N. Davidson Dolly Jones House Lost Architecture Porches Prince George Street St. Luke House Tin Roofs Virginia Weatherboarding Williamsburg https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/f3b1c11de8d74a2aa7f4764168854a55.jpg?Expires=1779926400&Signature=Ovcwz6jSkDNnB5wY0uufwIEvl2xp-0qYAjOlU0fXa1fs7UIBSiZ-YH9eSJCbyPObB0r%7EzF1wAPJ2ZFc2VQyCdklVNJWBUwE8P-vRJL5VmOEEsIFJYciAm8N0hwzxV32drvRroyXAxCb-mrphN7VwC8LyHL2tUhj-94UC6-KBS1dNBGMP%7EhAFhUMENQLOA0xWPbcG5a7IUbdDPqXnIo2OI7O39lwdbAcbKPZc3a2VkWgwr40AuDAsNW%7E5cozVuzL8UUb9rl0UAHgwPdKc%7EopiAFwFJ97DDQF8PZFUaYeLCJtsFi4ulNa1RQLcsHNrlUL0bBm3aSNZdCSBX5zOEuEBjg__&Key-Pair-Id=K6UGZS9ZTDSZM 2cb46d5be94df6773f5691d8c6af94cd 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 596 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 Alexander Purdie House Subject The topic of the resource Block 09. Building 28a. Purdie House (Williamsburg, Va.) Historic buildings -- Virginia -- Williamsburg Description An account of the resource <p>View of Alexander Purdie House from Duke of Gloucester Street, 1935. "The reconstructed Alexander Purdie House serves as the east wing of the King's Arms Tavern. In 1774, the Scottish-born Purdie founded the third of three Williamsburg newspapers named the <em>Virginia Gazette</em>. All three papers competed for readers as the Revolution drew near."</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 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 LC370P1 Rights Holder A person or organization owning or managing rights over the resource. Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation Alexander Purdie House Benches Chimneys Dormer Windows Dormers Duke of Gloucester Street Exteriors F.S. Lincoln Fences Gates Historic Buildings King's Arms Tavern Shutters Taverns Virginia Weatherboarding Williamsburg https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/7412ac7cab52d7a46565af48689b4caf.jpg?Expires=1779926400&Signature=gBUpKFFGZGkHFgc5BINebzTQx%7ETwXgwvJTwbbd3vWCifYxAvTqLbXrxrgCMygMDIx8sFwDOgglezFkTJB5I9wF7R3B6PttnrfBaRAy1Y%7EF0biWegvXw4CtjN8mx-CtZR2yCjOvd1w8iEe8V5RTryaWU3623ImTj5KoZC4szZAzPbjScwokkkQQ4ZoKHrPUB%7EvJHuOaMH7ovky8XwGDRLKE5%7Eizoc%7Ej-cwA9nDE%7E6EohCpYk2CH4CXqyUK2TtoeaW7c0VzvqgyhiGmQKljWVMidTSrZqHno4mwCcC-UzprhsVSF1J1SFPmuvzD4GtyukRDYOY6lzanHng9WWgqgR3pQ__&Key-Pair-Id=K6UGZS9ZTDSZM 199b6eae0247d3e9470a38edc71339d1 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 Highlights of the Susan Higginson Nash Photograph Collection Subject The topic of the resource Nash, Susan Higginson Williamsburg (Va.)--History Architecture, Colonial - Virginia Documentary photography - Virginia Architectural photographs - 1930-1940 Creator An entity primarily responsible for making the resource Nash, Susan Higginson Rights Holder A person or organization owning or managing rights over the resource. Special Collections, John D. Rockefeller Jr. Library, The Colonial Williamsburg Foundation Description An account of the resource Susan Higginson Nash was born in Brookline, Massachusetts on August 8, 1893 and died in Boston on July 25, 1971. She served as a consultant on antiques and interior decoration in association with the Boston architectural firm of Perry, Shaw, & Hepburn, chosen to carry out the early work on Williamsburg's restoration. Later a member of the American Institute of Decorators, she was a friend of architect William G. Perry with whom she first visited Williamsburg in 1923. During field trips to Virginia sites, she met the popular Richmond novelist Ellen Glasgow, who advised her: "If you do any work at Williamsburg, make it perceptible." Mrs. Nash felt this was a wonderful phrase and quoted it often, evidently taking it to mean that the work should be subtly and sympathetically done. Most of the photos in the Susan Higginson Nash Photograph Collection date to the early 1930s, when steps to be taken in the physical restoration of the colonial capital were still under study. Sites include many of the important extant eighteenth-century houses in the Tidewater region of Virginia, such as Shirley, Westover, Mt. Airy, Sabine Hall and Marmion. Excursions to such sites were made to help in determining proper precedents for the work to be carried out in Williamsburg's Historic Area. Date A point or period of time associated with an event in the lifecycle of the resource Early 1930s 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. 3.25 x 4.25 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 Allard House Subject The topic of the resource Nash, Susan Higginson Architecture, Domestic - Virginia - Williamsburg Lost architecture - Virginia - Williamsburg Description An account of the resource View of Allard House before being demolished, Williamsburg, Virginia, circa 1930s. Creator An entity primarily responsible for making the resource Nash, Susan Higginson 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. Susan Higginson Nash Photograph Collection, AV2009.35, Box 1, Album 4 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 Na1706 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. 1 photograph Allard House Chimneys Domestic Architecture Lost Architecture Shutters Susan Higginson Nash Virginia Weatherboarding Williamsburg https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/ae64c4a0f5d3eb2b45f038609ca7062c.jpg?Expires=1779926400&Signature=aE5KBQn5pki86-qPXP8m5H4ApDer1wMtNFV83L7bVbG0RjpxfncsdIwhGUBzxCiXrOLO2HeEScghTkNQ2oLtgVGlUy00nG%7E0HZECsNzqc4d1HaRhaOSzubD5H7BrUulAK7QFGrUaGms4ZtrIcDsFkDkZuPnxKX%7EkIIX9lnWZmNokiDHUs6DP0VztpJxvmYpc7pG-mk25tvQuEWbyQS2gWgSdr1pHUpN%7EymFxUHMH2dB-mYVfB%7Ec9oEs3WbX0Cqe2u8D47FqL7tMrWShUK8eMYSiuj0%7EFdhJxLKSNl247eg%7EAyAHjClHBY3oKOVbbVWh7c-iZLxSooHfOXS7sStYNyA__&Key-Pair-Id=K6UGZS9ZTDSZM ae8de16d8fdf914714be0893ffb13414 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 D.N. Davidson Photograph Collection Subject The topic of the resource Historic buildings - Virginia - Williamsburg Architecture, Colonial - Virginia - Williamsburg Black and white photographs Architectural photographs - 1920-1930 Lost architecture - Virginia - Williamsburg Description An account of the resource In 1933, the Williamsburg Holding Corporation acquired a set of over one hundred photographs from Newport News photographer D.A. Davidson. Described in a January 3, 1933 letter by Dr. W.A.R. Goodwin as "...the most valuable photographs which we have...," it formed the nucleus of what would later become an extensive photo archive relating to Williamsburg's restoration. Taken in the Williamsburg, Virginia area, circa 1928, the images offer many pre-restoration views of the town just prior to the commencement of restoration work funded by John D. Rockefeller Jr. Many local businesses, residences, and even streets known to townspeople in the 1920s but demolished or relocated as part of the development of Colonial Williamsburg in the late 1920s and early 1930s are documented in Davidson's photographs. The collection also provides a visual record of the appearance of many of the surviving eighty-eight public and private buildings dating to the eighteenth-century. Date A point or period of time associated with an event in the lifecycle of the resource Circa 1928 Is Part Of A related resource in which the described resource is physically or logically included. D.N. Davidson Photograph Collection Rights Holder A person or organization owning or managing rights over the resource. Special Collections, John D. Rockefeller Jr. Library, The Colonial Williamsburg Foundation Creator An entity primarily responsible for making the resource Davidson, D.N. 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 Ayscough House Subject The topic of the resource Historic buildings - Virginia - Williamsburg Ayscough House (Williamsburg, Va.) Block 08. Building 05. Architecture, Domestic - Virginia - Williamsburg Description An account of the resource Pre-restoration view of the Ayscough house, formerly known as the Bourbon house, Williamsburg, Virginia, circa 1928. Creator An entity primarily responsible for making the resource Davidson, D. N. Date A point or period of time associated with an event in the lifecycle of the resource Circa 1928 Date Created Date of creation of the resource. Circa 1928 Is Part Of A related resource in which the described resource is physically or logically included. D. N. Davidson Photograph Collection, AV-2013.2, Box 1, Folder 4 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 D-74 see also N3612 Rights Holder A person or organization owning or managing rights over the resource. Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation Asycough House Bourbon House Chimneys D. N. Davidson Porches Pre-Restoration Shutters Virginia Weatherboarding Williamsburg https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/7a6573aefda506dfa19adbe9247aac08.jpg?Expires=1779926400&Signature=et6t7hNmovX2IzHJJn2JlIKBxuO42dwBVX0PAvRkLR5YQByAt7gFEbobq58sb3ZgAa5m0LYaHcfgropJxYaUyB0wSn98Ds8bnt1FkxVKPs22lRCSFYHFU%7EtULzt1KX7RCM-RixVtaRECa2JIBflTSCxgZUvRlmlvx0ddqOJTkSDBXnVTqcKlUV0YMSwfSjDN3FtgIiF%7E9PWqEvWxQS3ICVE43RqB%7E-29REScYbQ98QNuNsn3JnCY8hDOttUgFtc6z5kVaLUyxI1LlP6RNUm9smttBmNYznCDvXcGGLkLYvtZCNu3wDGoxoVe0Fr2DsojsLzByWFmnB9C1Hys6KA3uA__&Key-Pair-Id=K6UGZS9ZTDSZM 46689e1fc30729c9f8f15091406c38ba 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 690 Width 1024 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 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. 45.5 x 31.5 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 Ayscough Shop Subject The topic of the resource Ayscough Shop (Williamsburg, Va.) Block 08. Building 05. Historic buildings - Virginia - Williamsburg Stores, Retail - Virginia - Williamsburg Architecture, Colonial - Virginia - Williamsburg Architecture, Domestic - Virginia - Williamsburg Description An account of the resource <p>View of Ayscough Shop from Francis Street, 1933. The Ayscough Shop once housed the Forge and Wheel, a retail establishment, which sold decorative ironwork, pottery, and other items.</p> <p>Christopher Ayscough, the namesake of the shop, tried operating a tavern on the site between 1768-1770. Other shopkeepers, including Catherine Rathell, Matthew Holt, and Jacob Bruce, briefly occupied the store and sold various goods to townspeople.</p> <p>The structure survived from the eighteenth century, although it was hardly recognizable due to the enlargements and modifications made in the nineteenth century. Once restored to its eighteenth-century appearance, the building exhibited such features typical of a commercial establishment as a gable end entrance and large shop window.</p> <p><strong><br /></strong></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-1014-1001 Rights Holder A person or organization owning or managing rights over the resource. Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation Ayscough Shop Chimneys Colonial Architecture Dormer Windows Dormers Exteriors Fences Forge and Wheel Gable End Entrances Gates Historic Buildings Railings Shutters Signboards Signs Stairs Thomas Mott Shaw Transoms Virginia Weatherboarding Williamsburg https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/49d7c2b8fa8c0bc39b84a3520d0ab932.jpg?Expires=1779926400&Signature=oZN8sndlmjpeExe%7EwxzcfuT1LpCcNb%7EGC2ESQlQpdsEqBAuHaVgHj2pbgeGrLrF2BFmZyh%7E%7EQLH0dv3VlJ3QmgcB1ecRPbWs1JNjf2R37MnoL%7EXFXvtFJ2BC1dkP%7E1jMFhrmb0EmKgBI9H0hym83RP4oZo8mT9j15QebOZjxvwb8lA4FZNNbgDUuthbI1V44q6ijnW481sg0db6hT3F61ywoQSxfAqj1AFW5VB58PPL%7EvYaCfJRPQaEK-pGjDbAbWtDKt7SQ5vEEUddIJw47nQG-4HvKMen7uz9PR76bvx-f6RGfWKN39qPRYGUvspe3vIUE41PJT%7E4DfBkjXVX2OA__&Key-Pair-Id=K6UGZS9ZTDSZM cf6fa98484e1465cf472ac41e871a6ae Omeka Image File The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files. Bit Depth 8 Channels 3 Height 768 Width 969 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource F.S. Lincoln Photography Collection Description An account of the resource The FS Lincoln Collection Biographical Sketch Mr. Fay S. Lincoln (known professionally as F.S. Lincoln) operated a photography studio in New York City from the 1930s until the mid 1960s. He was born in Keene, New Hampshire in 1894 and attended the Massachusetts Institute of Technology. Although he received training as an engineer, Mr. Lincoln chose to become a professional photographer in 1929, when he opened the firm of Nyholm &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 Ayscough Shop and William Finnie House Subject The topic of the resource Block 08. Building 05. Ayscough Shop (Williamsburg, Va.) William Finnie House (Williamsburg, Va.) Historic buildings -- Virginia -- Williamsburg Description An account of the resource View of Ayscough Shop and William Finnie House, looking south across Francis Street, 1935. The structure to the left is the Ayscough Shop, which housed the Forge and Wheel (a retail establishment) in 1935. The shop sold decorative ironwork, pottery, and other items. Christopher Ayscough, the namesake of the shop, tried operating a tavern on the site between 1768-1770. The structure survived from the eighteenth century, although it was hardly recognizable due to the enlargements and modifications made in the nineteenth century. Once restored to its eighteenth-century appearance, the building exhibited such features typical of a commercial establishment as a gable end entrance and large shop window. The structure to the right (across Francis Street) is the William Finnie House, one of the eighty-eight original buildings at Colonial Williamsburg. A gowned female costumed interpreter (once referred to as a "hostess") is shown standing in front of the house. The Finnie House is named after William Finnie, who resided in the home from the 1770s to early 1780s and held the office of quartermaster general of the Southern Department during the American Revolution. The Finnie House holds the distinction of retaining an appearance most closely matching its eighteenth-century form throughout the nineteenth and early twentieth 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 LC365P1 Rights Holder A person or organization owning or managing rights over the resource. Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation Ayscough Shop Basements Cellars Costumed Interpreters Dentils Exteriors F.S. Lincoln Fences Francis Street Historic Buildings Hostesses Porches Porticoes Railings Shutters Signboards Signs Stairs Virginia Weatherboarding William Finnie House Williamsburg https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/64f456be316c25c4e86093b09ce14ede.jpg?Expires=1779926400&Signature=jzlhCv%7ER4GrROtVORyNAD5ykcaE-JPjpxWcHG-rYwguRG9zNwgDyPOxnHZmXwIHdsImMao6rcuw88%7EWhod4w0lUvkERh6aHB1M0X73L8GLl8J3KSWCkimzZJ5VPl3cXcbrfzkncLBdA0BEP5sSUFy4wl3LN7Rvv2X4nvWwHtDKK9WRstC5FtNAymmC-jdaVApmuYy8UNMAYZfNTSNN%7E7u1Sxp3%7EyzZwJUqItmwhJVr53ph0oVO7U8Av0xv9tFleW69NQV%7ETO0DSE-uIbKAWPYeah9Fn4RR8GWR8QHWbJN0PM591ChpKPwbK%7EI-lx90gAIakoNU8hU-%7EWw1072QMcgw__&Key-Pair-Id=K6UGZS9ZTDSZM 80b536cad68bc4d10c022c49ec27e8df 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 Ayscough Shop, Exterior Subject The topic of the resource Ayscough Shop (Williamsburg, Va.) Block 08. Building 05. Historic buildings - Virginia - Williamsburg Stores, Retail - Virginia - Williamsburg Description An account of the resource View across Francis Street towards the Ayscough Shop taken by F.S. Lincoln in 1935. Christopher Ayscough, the namesake of the shop, tried operating a tavern on the site between 1768-1770. Other shopkeepers, including Catherine Rathell, Matthew Holt, and Jacob Bruce, briefly occupied the store and sold various goods to townspeople. The structure survived from the eighteenth century, although it was hardly recognizable due to the enlargements and modifications made in the nineteenth century. Once restored to its eighteenth-century appearance, the building exhibited such features typical of a commercial establishment as a gable end entrance and large shop window. In the 1930s, the structure housed a retail establishment, the Forge and Wheel, which sold decorative ironwork, pottery, and other wares. 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 LC356P1 Rights Holder A person or organization owning or managing rights over the resource. Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation Ayscough Shop Chimneys Colonial Architecture Dormer Windows Dormers F.S. Lincoln Fences Francis Street Virginia Weatherboarding Williamsburg https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/451ba2f28956959cc0a618fe8d958e0a.jpg?Expires=1779926400&Signature=ffIvnmoIhMUUE8H0bbrvdy7wRv2kuRIJsv4bE6iptq2HHg-NKA1KkG%7EzpRp-l6iqh7qWbLNtnG0fp0EAI5Ezubfjyjv46VIHpMQuX6so1hYmUvO9Mz1f7kAUVCRD1dJzcCnH6KigwaLmLZCgW1piFRYH7s3GqYQIJCC9vAP3E6AaGgoPsRvATxw1sJwXU1qglPgo4r0QKDVWbRrSCTwA52jEsnYFd8wqBPYcONfRgP95Ijs%7EoOwY3z4OUPx3MJWGLRqSbGZKd6QpLrxDPZ1xYQU8KvEhkmi-toxF8Th4Ek3gFNntz%7ESM3pL2moGGZN6VnQv0uuXVBTLJ7mUXL24GQg__&Key-Pair-Id=K6UGZS9ZTDSZM 9b455572cea04f49cd75989a209657c0 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 612 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 Ayscough Shop, Exterior Detail Subject The topic of the resource Ayscough Shop (Williamsburg, Va.) Block 08. Building 05. Historic buildings - Virginia - Williamsburg Stores, Retail - Virginia - Williamsburg Description An account of the resource Entrance of the Ayscough Shop in 1935, when it housed the Forge and Wheel, a retail establishment. As noted on the sign, the shop sold decorative ironwork, pottery, and other items. Christopher Ayscough, the namesake of the shop, tried operating a tavern on the site between 1768-1770. Other shopkeepers, including Catherine Rathell, Matthew Holt, and Jacob Bruce, briefly occupied the store and sold various goods to townspeople. The structure survived from the eighteenth century, although it was hardly recognizable due to the enlargements and modifications made in the nineteenth century. Once restored to its eighteenth-century appearance, the building exhibited such features typical of a commercial establishment as a gable end entrance and large shop window. 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 LC356P3 Rights Holder A person or organization owning or managing rights over the resource. Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation Ayscough Shop Bulkheads Cellars Chimneys Dormer Windows Dormers Exteriors F.S. Lincoln Fences Forge and Wheel Gable End Entrances Gates Historic Buildings Railings Shutters Signboards Signs Stairs Transoms Virginia Weatherboarding Williamsburg https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/0ff44ea30d23bdf1f76e9b5da8136c21.jpg?Expires=1779926400&Signature=RLn2NCSmToLn4UlBXmut3icsZewaBE8W9zziVmzXtPwskJ-Tlz3l3j8vY4OCDZN6ibZReJ2qFh-ItZT9r%7E4bvL1JvRrOpShxOsi-X-L47LSrTrpL5fOdXyHDfo9HT0tI7PaMFiJBGKCQ816Mxu1Dn%7EWmcoUN-5upHo%7E2ITqBZ7B-HTva8TGq6UODE8tI4H33kb05k-1erKarcLveUw%7EeJxHHHWyhzwJ2%7EXjFbdCamRa6O52texlSGLhbR9yHjzOaalG1k3MsLAF1ACHKa63mvsfsSB2eFwOPRjhXCA%7EW4wM2f7J8L2uWabBjDQ83u9Kz7gqhYkH0HGOL6ns5G-XC9A__&Key-Pair-Id=K6UGZS9ZTDSZM dd315d370f344fbc2a4c7d3232483f27 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 Ayscough's Shop on York Road Identifier An unambiguous reference to the resource within a given context PSC-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 Subject The topic of the resource Ayscough House (Williamsburg, Va.) Historic buildings - Virginia - Williamsburg Stores, Retail - Virginia - Williamsburg Block 08. Building 05. Description An account of the resource Lantern slide featuring a photo of the exterior of Ayscough Shop taken by F.S. Lincoln. It is the twelfth 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. This slide shows the entrance of the Ayscough Shop in 1935, when it housed the Forge and Wheel, a retail establishment. As noted on the sign, the shop sold decorative ironwork, pottery, and other items. Christopher Ayscough, the namesake of the shop, tried operating a tavern on the site between 1768-1770. Other shopkeepers, including Catherine Rathell, Matthew Holt, and Jacob Bruce, briefly occupied the store and sold various goods to townspeople. The structure survived from the eighteenth century, although it was hardly recognizable due to the enlargements and modifications made in the nineteenth century. Once restored to its eighteenth-century appearance, the building exhibited such features typical of a commercial establishment as a gable end entrance and large shop window. Creator An entity primarily responsible for making the resource Lincoln, F.S. Publisher An entity responsible for making the resource available Pacific Stereopticon Co. Date A point or period of time associated with an event in the lifecycle of the resource 1935 Is Part Of A related resource in which the described resource is physically or logically included. Pacific Stereopticon Lantern Slide Collection Format The file format, physical medium, or dimensions of the resource jpeg Type The nature or genre of the resource Image Ayscough Shop Bulkheads Cellars Chimneys Dormers F.S. Lincoln Fences Forge and Wheel Gable End Entrances Gates Lantern Slides Pacific Stereopticon Company Railings Shops Shutters Signboards Signs Stairs Transoms Virginia Weatherboarding Williamsburg York Road https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/97f023a9786ef686415b8dbd886cdff6.jpg?Expires=1779926400&Signature=Kadw6SHulF9jlap%7EqJdvitcmnIahkRuuUWKQ5TzVw9-snHqWS7T-IDCkQ3jFhWadm8eoxikg5StSwQcavc7pbGNj6HGVlD39KJHUG0zWvzqxZjuoRDOkueY5oLpqvkm7qCKu3Zc5uBYVbhJrXxtNn1jWjw-i1XT3GaMspDZTjEhm7o6OBVpp5GAxwbf7oXYzneU-GtYd%7E1JLFvtCBlG8xNGt0zY4nZaFcOF3-fZx6OIVJUs4ZmDDKLlAQ6soJthEkq0iirC3eHewlBKNkY1UwYp0oWLCfUJ%7Ex8M7LWnKnn82%7EywqK-qD4axty-%7EWXdzI-LNLNL1NddIohivQrs0Z1Q__&Key-Pair-Id=K6UGZS9ZTDSZM 84f214e7f7a2b83cd5aa8899154367c2 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 Highlights of the Susan Higginson Nash Photograph Collection Subject The topic of the resource Nash, Susan Higginson Williamsburg (Va.)--History Architecture, Colonial - Virginia Documentary photography - Virginia Architectural photographs - 1930-1940 Creator An entity primarily responsible for making the resource Nash, Susan Higginson Rights Holder A person or organization owning or managing rights over the resource. Special Collections, John D. Rockefeller Jr. Library, The Colonial Williamsburg Foundation Description An account of the resource Susan Higginson Nash was born in Brookline, Massachusetts on August 8, 1893 and died in Boston on July 25, 1971. She served as a consultant on antiques and interior decoration in association with the Boston architectural firm of Perry, Shaw, & Hepburn, chosen to carry out the early work on Williamsburg's restoration. Later a member of the American Institute of Decorators, she was a friend of architect William G. Perry with whom she first visited Williamsburg in 1923. During field trips to Virginia sites, she met the popular Richmond novelist Ellen Glasgow, who advised her: "If you do any work at Williamsburg, make it perceptible." Mrs. Nash felt this was a wonderful phrase and quoted it often, evidently taking it to mean that the work should be subtly and sympathetically done. Most of the photos in the Susan Higginson Nash Photograph Collection date to the early 1930s, when steps to be taken in the physical restoration of the colonial capital were still under study. Sites include many of the important extant eighteenth-century houses in the Tidewater region of Virginia, such as Shirley, Westover, Mt. Airy, Sabine Hall and Marmion. Excursions to such sites were made to help in determining proper precedents for the work to be carried out in Williamsburg's Historic Area. Date A point or period of time associated with an event in the lifecycle of the resource Early 1930s 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. 3.25 x 4.25 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 Benjamin Waller House Subject The topic of the resource Nash, Susan Higginson Benjamin Waller House (Williamsburg, Va.) Block 01. Building 16. Architecture, Domestic - Virginia - Williamsburg Historic buildings - Virginia - Williamsburg Description An account of the resource Benjamin Waller House, 550 E. Francis St., Williamsburg, Virginia, circa 1930's Creator An entity primarily responsible for making the resource Nash, Susan Higginson 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. Susan Higginson Nash Photograph Collection, AV2009.35, Box 1, Album 4 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 Na1748 Rights Holder A person or organization owning or managing rights over the resource. Special Collection, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation Extent The size or duration of the resource. 1 photograph Benjamin Waller House Chimneys Domestic Architecture Dormers Francis Street Historic Buildings Outbuildings Porches Susan Higginson Nash Virginia Weatherboarding Williamsburg https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/192d940d2fbf419d8f87a2195ba252bf.jpg?Expires=1779926400&Signature=Cldj5qd2fkpg4vAkDJKsjV2QMKUycJvMIc0SbYe2Q0aAx4bLQ1fwKsIO%7EAeUQcHr3g-XCfXQn79OGr0bhiQNQJnGWBCDSHm4leYttlciXHVjzQoQ-eH6A9RCHE-xHqYfH%7EVeoXb8jXDpGff6Mu7EG-hiGIXVD5ZZpqh8corCJ8Tukfb-4nSRC1vWVLGlNysBLpHxyvBmki464irdDpAaER9f4rHllH%7EvPXJcbd2fcB42pvcs0my9oJ7PyDIsQE7qHr%7ECaKWiIYkoB7HFkt1JOB9oMVAgN35uUf3nhJ89%7EWo5FRdR0q4onm%7EY0kSQsfmySI8JUBQg1wG72QjVMJpjhQ__&Key-Pair-Id=K6UGZS9ZTDSZM 3f7c99ed9a8508a9238925243ad40cdf 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 Earl Gregg Swem Photograph Collection Subject The topic of the resource Swem, E.G. (Earl Gregg), 1870-1965 Historic buildings - Virginia - Williamsburg Architectural photographs - 1920-1930 Description An account of the resource This collection of sixty-two black and white photographs primarily documents buildings in pre-restoration era Williamsburg at the beginning of the 1920s. It is not known whether Swem took the photographs in this collection himself or gathered them from various local sources as part of his ongoing research on Virginia history topics. Williamsburg structures represented include the Benjamin Waller House, the Chiswell-Bucktrout House, Moody House, Bracken Tenement, Lightfoot House, Nicholas-Tyler Office, Benjamin Powell House, Mayo House, Wetherburn's Tavern, Palmer House, Dr. Barraud House, Taliaferro-Cole House, Travis House, Alexander Craig House, Public Records Office, Prentis Store, Charlton House, Dudley Digges House (now known as the Bray School), Coke-Garrett House, Peyton Randolph House,Grissell-Hay Tenement, St. George Tucker House, Timson House, St. John House, Roscow Cole House, Ewing House, and the Tayloe House. A few historic sites outside of Williamsburg are also included and encompass Bacon's Castle, Smith's Fort Plantation, and unidentified houses in Smithfield and at Kingsmill Farm. The Confederate stone obelisk on Palace Green, the commemorative obelisk on the site of the Governor's Palace, and mulberry trees on Francis Street are some miscellaneous features of early 1920s Williamsburg that are visually documented in the collection. Several business enterprises once located along Duke of Gloucester Street are recorded in Swem's photographs, including the Williamsburg Hotel on Market Square. Dr. Earl Gregg Swem served as a librarian at the College of William and Mary from 1920-1944. A graduate of Lafayette College, he began building his library career through several positions in the Chicago area in the late 19th-century. In 1903, he accepted an appointment to a position in the Copyright Office of the Library of Congress. He then held the position of Assistant State Librarian of Virginia from 1907-1919. In 1920, he arrived in Williamsburg to head the College of William & Mary's Library, where he worked diligently to expand its historical collections into what would one day be the nucleus of the library's Special Collections Research Center. During his tenure at the College of William & Mary, Swem also managed the William & Mary Quarterly and published the Virginia Historical Index in 1936. After his death in 1965, the College named its new main library the Earl Gregg Swem Library in his honor. Creator An entity primarily responsible for making the resource Swem, Earl Gregg Date A point or period of time associated with an event in the lifecycle of the resource Early 1920s 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. 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 Benjamin Waller House Subject The topic of the resource Historic buildings - Virginia - Williamsburg Benjamin Waller House (Williamsburg, Va.) Block 01. Building 16. Architecture, Domestic - Virginia - Williamsburg Description An account of the resource Pre-restoration view of north and east facades of the Benjamin Waller House (formerly known as the Morecock House), Williamsburg, Virginia. Creator An entity primarily responsible for making the resource Swem, Earl Gregg Date A point or period of time associated with an event in the lifecycle of the resource Circa 1920 Date Created Date of creation of the resource. Circa 1920 Is Part Of A related resource in which the described resource is physically or logically included. Earl Gregg Swem Photograph Collection, AV2009.24, Folder 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 Swem-44 Rights Holder A person or organization owning or managing rights over the resource. Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation Benjamin Waller House Chimneys Dormers Earl Gregg Swem Morecock House Outbuildings Porches Virginia Weatherboarding Williamsburg https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/ca896244475063fd094b1339dc04f2ca.jpg?Expires=1779926400&Signature=gHAqMS9eO%7EggAXvhuNWCRQE780hu5xUrToEhUQT6AZspz%7EWO3-hh6pS8FYLewXwcVv23%7El-V6SRBHwK4ZXFv4hDvRQObvnqf3vJKzEEyGexDj59G2Vx5d-1ERsgP5X%7EJim4qZNLVamHwan0-JNw1-wa0SbZUGvjgTst2EeNZ7MoYUT1fsnCElmHjBmaeWLZWZO-tFfy8qVSvuFr-etbMEcCX4FqGO0mNOTZG-zCnRRWi05DFnKc4v0KhreRaEeOeLn18MrSpA3w9qmQE-kvVvr9-ODcoLw6J-gnmF2G4x1mw13aR4QsmjTf1Orn%7EWFwlUSlAzR-GUjZjADBVeISvIQ__&Key-Pair-Id=K6UGZS9ZTDSZM 923afca62166e1105adb4973c66c4180 https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/b86989a10438d9e4fc5eed91ccd0b110.jpg?Expires=1779926400&Signature=dBXMsT9fCr6cKd1isCcr-DHpGm9LkhLmIsTD1qmhTabQudHKKyFcyGkP1lRW0DubAZPIajytNNK0pIqPhibvpYfFU4-BZDZgZGGDwkOp1QxGSqustWFD54PwSbG2O910N9HVtHaRmuaSG6QNUpfqpfO3NEKCRCMrMDhRRrxhyMpIl3L4kOfNknYWh3tY1WPwJ1Y7oeIBDJiYMIhpxSHvYH4oq2vfRuzLLH6pEygwYZAtJd-8hwg7m4StQQH60uZFkwxOwSofpmu5dUpeClQbhbwkZZJI0HMdZQiLrNcd1TstmblzMe5lro7WIzawQPbuC0WTWIW4rBxrQFcQrLbkhg__&Key-Pair-Id=K6UGZS9ZTDSZM 0b4552041d358091b56337b0e94ab40a 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. 3.5 x 5.5 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 Blair House, Williamsburg, Virginia Subject The topic of the resource John Blair House (Williamsburg, Va.) Postcards - Virginia - Williamsburg Block 22. Building 05. Historic buildings - Virginia - Williamsburg 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 Rights Holder A person or organization owning or managing rights over the resource. Special Collections, John D. Rockefeller Jr. Library, The Colonial Williamsburg Foundation Description An account of the resource 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. 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." Creator An entity primarily responsible for making the resource Albertype Co. for Colonial Williamsburg Inc. Date A point or period of time associated with an event in the lifecycle of the resource 1930s Identifier An unambiguous reference to the resource within a given context AV-97-05-04-R AV-97-05-04-V Albertype Company Colonial Architecture Domestic Architecture Dormers Fences John Blair House Lampposts Pathways Postcards Shutters Transoms Virginia Weatherboarding Williamsburg https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/0e1070d5cfc934c9506264ea3f1e629e.jpg?Expires=1779926400&Signature=rNr9dgg9ZvJAwbQlsg994zzzIofcztJznxGUi9UCJt7qqAa4Ufe09JMy61V11L38VK6y7Xm77et3dYavIsClgWsGLZRhVj%7EkldZ9iUO6sFvO7gs5UDxcyGjsJszsdohoJUL6JFfTbkFyxXyW%7EL77859OvVRAV3C1F5-5BmNAQQDTrywNJtXiwnk-j385PhyJanSlUDWWOWkQZC0QZSqonQ2dHqa2aJtu8xDdIWi5mA9IEFTF1z7RBFHsvbTcG5dKgril%7Ejj015s-T0KbVIdy9Awdivqfwu9fDwYqABRrK6pZY4u35pi7sGr0SR9wi8zFlV26wOqEzgWZ9P5yZ0yukA__&Key-Pair-Id=K6UGZS9ZTDSZM ba38797f906e6b2e0a9d9e33eb65f66e 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 Bourbon House, Williamsburg, Virginia Subject The topic of the resource Lost architecture - Virginia - Williamsburg Historic buildings - Virginia - Williamsburg Block 08. Building 05. Ayscough House (Williamsburg, Va.) Lantern Slides - Hand colored - 1930-1940 Description An account of the resource Side elevation of the Bourbon House, now known as the Ayscough House, prior to being restored to its eighteenth-century appearance. Christopher Ayscough, the namesake of the house, tried operating a tavern on the site between 1768-1770. Other shopkeepers, including Catherine Rathell, Matthew Holt, and Jacob Bruce, briefly occupied the store and sold various goods to townspeople. The structure survived from the eighteenth century, although it was hardly recognizable due to the enlargements and modifications made in the nineteenth century. Once restored to its eighteenth-century appearance, the building exhibited such features typical of a commercial establishment as a gable end entrance and large shop window. Creator An entity primarily responsible for making the resource A.D. Handy Co. Date A point or period of time associated with an event in the lifecycle of the resource Circa 1930s Is Part Of A related resource in which the described resource is physically or logically included. Peter Hornbeck Lantern Slide Collection, AV-2000.9 , Box 1 Format The file format, physical medium, or dimensions of the resource jpeg Extent The size or duration of the resource. 1 item Type The nature or genre of the resource Image Identifier An unambiguous reference to the resource within a given context HLS-43 Rights Holder A person or organization owning or managing rights over the resource. Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation Ayscough House Bourbon House Domestic Architecture Glass Transparencies Lantern Slides Lost Architecture Peter Hornbeck Porches Pre-Restoration Shutters Virginia Weatherboarding Williamsburg https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/c126ce1f678214c59a07a93a513c6804.jpg?Expires=1779926400&Signature=p9JL6fFxZ6RR4MTwVikYBvlLWO6wl--Lgrisf7mgyhKQ6zoWaQDiMus4EU0P8LPYFmEpFzPEgIFChU7iZy8hHpHqJIIyIUS8VUhaRYZLjHE4HlEOtiZO2%7EjzFWvR0RvoGH7%7EmiLRSMApA900bNZbbaBCCWEmPyrwe8H2jGAW7WLotnRxs55DYoewCwXysOCrdzRUKrx-rv2aul8gZowhGQiJETk4DPfljRIbFRMy7uwlv0YlOcK4SR6m6gOOf2wNjm7ueMWpjw9MjAj2PCVfb%7EOtxVK3nWlKjwsUdEpu13FMPaV-PPyHTmKP10hT11ptOVr8o8xIYtOp4HzO11ywaA__&Key-Pair-Id=K6UGZS9ZTDSZM ce63f15befda40c4aa16721e1b28248f 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/. Is Part Of A related resource in which the described resource is physically or logically included. Peter Hornbeck Lantern Slide Collection, AV-2000.9, 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 HLS-44 Rights Holder A person or organization owning or managing rights over the resource. Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation Title A name given to the resource Bourbon House, Williamsburg, Virginia Creator An entity primarily responsible for making the resource A. D. Handy Co. Subject The topic of the resource Ayscough House (Williamsburg, Va.) Block 08. Building 05. Lantern slides - Hand-colored - 1930-1940 Historic buildings - Virginia - Williamsburg Description An account of the resource Post-restoration view of the Bourbon House after being restored to its eighteenth-century appearance and re-named the Christopher Ayscough Shop. Christopher Ayscough, the namesake of the shop, tried operating a tavern on the site between 1768-1770. Other shopkeepers, including Catherine Rathell, Matthew Holt, and Jacob Bruce, briefly occupied the store and sold various goods to townspeople. The structure survived from the eighteenth century, although it was hardly recognizable due to the enlargements and modifications made in the nineteenth century. Once restored to its eighteenth-century appearance, the building exhibited such features typical of a commercial establishment as a gable end entrance and large shop window. Today the structure is known as the Christopher Asycough House. Ayscough House Bourbon House Chimneys Dormer Windows Fences Gable End Entrances Gables Glass Transparencies Lantern Slides Peter Hornbeck Retail Shops Shop Windows Shops Shutters Virginia Weatherboarding Williamsburg https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/c6b629e77b1157c15ef4f261ada2ecbe.jpg?Expires=1779926400&Signature=nFXayVqU-lVJamXaFunoeHwXc-MBPH1J8JdU6Xlfjiut3xB%7E049IujbNLzDf3i4xGt%7Emt0KYbaeq4LT%7EDBMI8iv0NyP3V94lkqAr61kTd7xpoH7-Z1OhFpGEtgJkla5iitX4FTquOqf3VQ5htZzekoICfxUY2zuwCDxuEhMFT1ZNLYCH--uTYrA8ZlXodtTP2bR6MSWAuWZ4f2MYMAj4CYiO7JJd7bew7AivjRD7nUGXeBqQgjKY2Wyl7hMycEjSpDhOncLyP7ja-GUY3YTtu1pXQZ1t72tcWMW8kdQNZx9VNVBIhT6m4tc%7EaU7FU7Fg4Y4Tz7disGCn2mEq%7EwnnvQ__&Key-Pair-Id=K6UGZS9ZTDSZM 2efa19a69169400b11233409eac49368 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 3300 Width 2520 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. 21.5 x 28 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 Bracken Tenement Subject The topic of the resource Bracken Tenement (Williamsburg, Va.) Block 2. Building 52. Historic buildings - Virginia - Williamsburg Architecture, Domestic - Virginia - Williamsburg Architecture, Colonial - Virginia - Williamsburg Description An account of the resource <p>Exterior of the Bracken Tenement (formerly known as the Montague House), view of the east façade, 1928. “The Reverend Mr. John Bracken, who had extensive real estate holdings along Francis Street, owned the…Bracken Tenement...and the Bracken Kitchen. … Bracken’s rise to social and financial prominence began in 1776 with his marriage to Sally Burwell of Carter’s Grove plantation. He was the rector of Bruton Parish Church for forty-five years, mayor of Williamsburg in 1796, and president of the College of William and Mary from 1812 to 1814. … The one-and-a-half-story Bracken Tenement has a steep A-shaped gable roof and massive T-shaped chimneys, each characteristic of early eighteenth-century architecture in Virginia.”</p> <p>(Source: Michael Olmert and Suzanne Coffman, <em>Official Guide to Colonial Williamsburg</em> [Williamsburg, VA: The Colonial Williamsburg Foundation, 2007], 132-133).</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 1928 Date Created Date of creation of the resource. 1928 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-1014-1006 Rights Holder A person or organization owning or managing rights over the resource. Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation Bracken Tenement Chimneys Colonial Architecture Domestic Architecture Dormer Windows Dormers Fences Gable Roofs Historic Buildings Montague House Thomas Mott Shaw Virginia Weatherboarding Williamsburg https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/696149ee7315f208f24198b6d1fda1f1.jpg?Expires=1779926400&Signature=SXoeok2rx1WqOG3TierBxqWk-7jajDVuDLAIfROLnSK%7EBD3J24o%7EkdO2jFX0k2Xpholn076DCcMC-PtgMduaHQ0r0FNM6k%7EfOFCBqtYbsNa8c7Lyzd22pNvTwoiNmnpw-C9BzDDVnhuZhaQ33-v2DvOfzWq%7Encc-RLjh18hE3eV82kGRAcFSZ8swVVdT2GkshRTHe42tyd6HYk4lrVHJeN67rYUJqnMkquhPckz0hBOpRzSR1MOSiyilGgUmrl09QLZ%7Eb1S9PPH36V%7EaQts0go3MxEuCrrt-KBzssvfJgxowBkMsiUrdVCbJFnsxWwnIVnGNifyRfOM9640K5N6omg__&Key-Pair-Id=K6UGZS9ZTDSZM bcab8a8a2d07e138cbe4229dc443f391 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 Earl Gregg Swem Photograph Collection Subject The topic of the resource Swem, E.G. (Earl Gregg), 1870-1965 Historic buildings - Virginia - Williamsburg Architectural photographs - 1920-1930 Description An account of the resource This collection of sixty-two black and white photographs primarily documents buildings in pre-restoration era Williamsburg at the beginning of the 1920s. It is not known whether Swem took the photographs in this collection himself or gathered them from various local sources as part of his ongoing research on Virginia history topics. Williamsburg structures represented include the Benjamin Waller House, the Chiswell-Bucktrout House, Moody House, Bracken Tenement, Lightfoot House, Nicholas-Tyler Office, Benjamin Powell House, Mayo House, Wetherburn's Tavern, Palmer House, Dr. Barraud House, Taliaferro-Cole House, Travis House, Alexander Craig House, Public Records Office, Prentis Store, Charlton House, Dudley Digges House (now known as the Bray School), Coke-Garrett House, Peyton Randolph House,Grissell-Hay Tenement, St. George Tucker House, Timson House, St. John House, Roscow Cole House, Ewing House, and the Tayloe House. A few historic sites outside of Williamsburg are also included and encompass Bacon's Castle, Smith's Fort Plantation, and unidentified houses in Smithfield and at Kingsmill Farm. The Confederate stone obelisk on Palace Green, the commemorative obelisk on the site of the Governor's Palace, and mulberry trees on Francis Street are some miscellaneous features of early 1920s Williamsburg that are visually documented in the collection. Several business enterprises once located along Duke of Gloucester Street are recorded in Swem's photographs, including the Williamsburg Hotel on Market Square. Dr. Earl Gregg Swem served as a librarian at the College of William and Mary from 1920-1944. A graduate of Lafayette College, he began building his library career through several positions in the Chicago area in the late 19th-century. In 1903, he accepted an appointment to a position in the Copyright Office of the Library of Congress. He then held the position of Assistant State Librarian of Virginia from 1907-1919. In 1920, he arrived in Williamsburg to head the College of William & Mary's Library, where he worked diligently to expand its historical collections into what would one day be the nucleus of the library's Special Collections Research Center. During his tenure at the College of William & Mary, Swem also managed the William & Mary Quarterly and published the Virginia Historical Index in 1936. After his death in 1965, the College named its new main library the Earl Gregg Swem Library in his honor. Creator An entity primarily responsible for making the resource Swem, Earl Gregg Date A point or period of time associated with an event in the lifecycle of the resource Early 1920s 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. 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 Bracken Tenement Subject The topic of the resource Historic buildings - Virginia - Williamsburg Bracken Tenement (Williamsburg, Va.) Block 02. Building 52. Architecture, Domestic - Virginia - Williamsburg Description An account of the resource Pre-restoration view of north façade of the Bracken Tenement, Williamsburg, Virginia. Creator An entity primarily responsible for making the resource Swem, Earl Gregg Date A point or period of time associated with an event in the lifecycle of the resource Circa 1920 Date Created Date of creation of the resource. Circa 1920 Is Part Of A related resource in which the described resource is physically or logically included. Earl Gregg Swem Photograph Collection, AV2009.24, Folder 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 Swem-32 Rights Holder A person or organization owning or managing rights over the resource. Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation Bracken Tenement Chimneys Dormers Earl Gregg Swem Pediments Virginia Weatherboarding Williamsburg https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/5bdeb79e8b46fe41ad3a4a3ab6a5a72c.jpg?Expires=1779926400&Signature=bCZxyrqn3A9VPz1LI3hrHG2moCdM9Ty9GxUnjoWfxhHhwsXrwERZZqTkAy3TuNYL52CQSjchLsBj9rd%7ERuy25PGmoSnqdiTjtL5qagzI0JRdiqOB8XqB95VCYrrQc-bNIJHLmyhB526dzfR-SUsQlW%7ETCztEBOpJrld%7E89cqYmbLYZEQvtS2iLvhj9c76Sbf6oS0MqknVtPiZ9WmLV9oAj97i4bMsnssuivKku0RUREJhfLBPMBXJXoY2bFZbo7OJ8NZNmkGiG8RWhime76TBq9JvFQ4Kwt-eE-WRHun4UbNWfsMzYYz2tThVN6I7fYKGu%7E0ObYdAp4MT%7ExXaMVjVA__&Key-Pair-Id=K6UGZS9ZTDSZM e055f40799c47a88f68031b6b4a65b50 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 Coke-Garrett House Garden Subject The topic of the resource Coke-Garrett House (Williamsburg, Va.) Gardens - Virginia - Williamsburg Block 27. Building 01. Description An account of the resource Hand-colored lantern slide featuring photo of Coke-Garrett House garden gate taken by F.S. Lincoln in 1935. It is the twenty-third 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. This view looks from the garden across a gate towards the front elevation of the house. The western portion served as the 18th-century residence of silversmith John Coke, while the central Greek Revival style portion was constructed in the early 19th- century by the Garrett family. Creator An entity primarily responsible for making the resource Lincoln, F.S. Identifier An unambiguous reference to the resource within a given context PSC-023 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. 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 Coke-Garrett House Dentils Domestic Architecture Dormers F.S. Lincoln Fences Gardens Gates Lantern Slides Pacific Stereopticon Company Pediments Porches Shutters Virginia Weatherboarding Williamsburg https://d1y502jg6fpugt.cloudfront.net/3854/archive/files/23a54963c9dd5ec3065f1262bf5f156a.jpg?Expires=1779926400&Signature=DktnzjzFeIzFrIZHjePStptzZIjNuXC085-MO13SBk3j8tMw6AyvouON1IruRdg9%7EwctOpcWUG-xxA6y9izhJ25mGF%7E6WtQSOdVNIGdxiPP44XwDPoKCmGh4YYdmoWCec6SWSM0T8Kd3fBhKQpwV%7EW48lUbGRoYXk0%7EySVUL4i9N4%7E9RS0-cmmeB-6NLUMVQ%7EcR9XWK33wfYY8JsUpJYxcLbw2uuU2icRFAa-4T3J%7EXg3r1B5SDLR2SlSypuFuczQXYY-WsLALhCz-MI1re05dM-KTr3O2GhwQG%7EDddAVAPaad80-G4KmUYjAhxsk8tHncZ8OD4sN0XZtPNmSTxTJw__&Key-Pair-Id=K6UGZS9ZTDSZM d388cddfe3c2904e61c3bdaa3f1062ab 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 670 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 Coke-Garrett House, Office Subject The topic of the resource Coke-Garrett House (Williamsburg, Va.) Block 27. Building 01. Architecture, Domestic - Virginia - Williamsburg Architecture, Colonial - Virginia - Williamsburg Historic buildings - Virginia - Williamsburg Description An account of the resource View of the Office of the Coke-Garrett House taken by F.S. Lincoln in 1935. Once the eighteenth-century residence of silversmith John Coke, the house later became the home of the Garrett family, who added the central Greek Revival style portion and Office in the early nineteenth century. Dr. Robert M. Garrett performed surgical procedures on wounded soldiers inside the Office after the Battle of Williamsburg in 1862. 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 LC333P9 Rights Holder A person or organization owning or managing rights over the resource. Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation Brick Pathways Chimneys Coke-Garrett House Columns Domestic Architecture F.S. Lincoln Gardens Greek Revival Offices Outbuildings Pediments Porches Porticoes Virginia Weatherboarding Williamsburg