1962–1980s, bulk 1960–1970
337 35mm slides, 42 x 2 slides, and 61 prints
In 1962, Rhode Island native Roland Leveque moved to Virginia and began photographing the courthouses of Virginia. Within the same year, Roland Leveque passed away and his son, George Philip Leveque, decided to carry on the project. Over a period of almost thirty years, George Leveque photographed every courthouse in Virginia. This collection has all but six of his images. He also photographed historic sites, locomotives, and ships.
George Leveque (1929 – 2012) worked as a budget analyst for the City of Richmond and later for the Commonwealth of Virginia. He took up photography as a hobby and set out to finish the project his father started. His wife described Leveque as a “collector of all things,” and said that he particularly loved history. This was a passion project for Leveque, and he never intended to display the images or lecture. The courthouse images feature the facades and in some instances the sides of the buildings. The historic sites he photographed included places like Monticello and Colonial Williamsburg.
Arrangement and access:
The slides are arranged alphabetically in slide boxes. The subjects are also in slide boxes separated by topic. 131 slides of courthouses, 120 slides of historic sites, 20 slides of locomotives, 43 slides of ships, 27 unidentified slides, and 61 photographs of historic sites. Missing counties: Amelia, Chesterfield, Culpeper, Dinwiddie, … more
Three photograph albums containing 207 photographs and newspaper clippings, an assortment of 147 loose photographs, 3 school certificates, and an employment service certificate from Bassett Furniture, where Wray worked for 21 years.
Born and raised in Henry County, Virginia, Rosa Brown Wray (1934–2006) collected hundreds of photographs of her friends and family. The majority of the photos are labeled with the name, age, and hometown of those pictured. Many family surnames—including Hairston, Ross, Williams, Thomas, and Nolen—appear consistently throughout the collection. The majority of the newspaper clippings and other ephemeral items that Wray saved are related to school events in 1952, such as class valedictorians, school track meets, and news about classmates and friends.
Of special interest are 83 photographs that capture the daily life (1952–1953) of an African American soldier’s service during the Korean War. Wray’s brother Charles Brown Jr. is the subject of the photos, presumably showing his family in Virginia what life was like in Korea. Rather than action shots, however, these photos show Brown lounging, drinking Coca-Cola, barbering, playing guitar, and relaxing with fellow soldiers. The Korean War was the first in which the military desegregated its units, following President Harry S. Truman’s 1948 executive order requiring the military to end racial discrimination. Brown’s photographs reflect this, indicating a camaraderie between the black and white soldiers in his unit. The men posed for group photos, putting their arms … more
120 works of art, including 57 watercolors; 24 oil paintings; and pieces in tempera, gouache, pastel, ink, pencil, charcoal, wood, and mixed media, ranging in size from 7 x 10 inches to 32 x 26 inches
Pierre Daura (1896–1976), born Pere Francesc Joan Daura i García, was a noted Catalan-American artist. Following early training at the School of Fine Arts (La Llotja) in Barcelona, Daura moved to Paris in 1914 to complete his artistic education. After military service in Minorca during World War I, he returned to Paris in 1920 and became part of its vibrant postwar modern art scene. Daura married the American artist Louise Heron Blair in 1928, and—following the outbreak of World War II—he spent the second half of his life in her home state of Virginia. Daura produced many depictions of the landscape and people of Rockbridge County, where the family settled, and worked prolifically in a variety of media and styles. During the 1940s and 1950s, he also taught at Lynchburg College and Randolph-Macon Woman’s College.
The Library of Virginia’s collection of Daura’s work represents both the longevity and breadth of his artistic career, with its greatest strength the images of people and places near his Virginia home. These include self-portraits done over three decades as well as portraits of his wife, their daughter Martha Daura, other family members, and neighbors. Local scenes range from expressive paintings … more
ca. 1870–1918, negatives 1900–1918
58 8 x 10-inch glass-plate negatives, 12 carte de visites
Michael Miley (1841–1918), probably most famous for his portraits of Robert E. Lee, was a Rockbridge County native who contributed greatly to the burgeoning field of photography. After serving under General Thomas “Stonewall” Jackson in the Civil War, Miley moved to Staunton to study photography under J. H. Burdett, where he learned to print positive images using the albumen wet-plate process. He returned to Rockbridge County a year later and joined forces with Andrew Plecker, a traveling photographer from Lynchburg, which led to his most famous photograph: Robert E. Lee with his horse Traveller at the Rockbridge Baths.
In 1866, Miley partnered with businessman John C. Boude to open a photography studio at the corner of Main and Nelson Streets in Lexington. He purchased Boude’s half of the business in 1870, named the studio the Stonewall Art Gallery, and found his niche as a portrait photographer. Miley also photographed classes and athletic teams at Washington and Lee University and the Virginia Military Institute. In 1895 his son Henry Miley joined the photography business and renamed the studio M. Miley & Son. Around this time, Miley began experimenting with carbon printing, a process that produced a permanent print in one color. The resulting experiment led to a patent on his color process in 1902, and in 1905 Michael and Henry Miley … more
883 photographic prints, approx. 19.5 x 19.5 inches
These large-format aerial photographs cover extensive portions of Virginia, and include parts of the bordering states of North Carolina, Maryland, and West Virginia. They were produced as part of efforts coordinated by the U.S. Geological Survey to provide cloud-free aerial photography coverage of the United States for use by state and federal agencies.
The National High Altitude Photography program (NHAP) photographs were taken from an altitude of 40,000 feet. Each image covers approximately 68 square miles.
The National Aerial Photography Program (NAPP) photographs were taken from an altitude of 20,000 feet, and each image covers approximately 32 square miles.
Both groups were taken with color infrared film, which renders most of the vegetation in red or magenta.
Arrangement and access:
The NHAP set includes 629 photographs taken from 1980 to 1986. The NAPP set includes 254 photographs taken from 1989 to 1991. Both sets are organized by a film roll number followed by a frame number (example: 513-171 is Roll 513, Frame 171). Roll and frame numbers as well as photography dates are printed on the images. Inventories have been created for both sets, searchable by state/county and by roll/frame numbers. These inventories also include latitude and longitude data for each photograph.
Transferred from the Virginia Department of Conservation and Recreation, 2012.
140 drawings in pen-and-ink, pencil, and watercolors, ranging in size from 25 x 35 cm to 40 x 45 cm
The WPA Historic Houses Drawings Collection includes 140 images of houses, courthouses, churches, mill houses, and taverns, representing 39 Virginia counties. In the early- to mid-1930s, the Virginia State Commission on Conservation and Development’s Division of History and Archaeology received funds from the Works Progress Administration’s (WPA) Federal Art Project to commission five artists to create drawings for a publication on historic Virginia shrines. Like other WPA-funded projects, the artists applied for work through local emergency relief offices before being assigned to the Federal Art Project. Several of the artists also contributed to other New Deal projects at the time, including stamp designs for the National Recovery Act and illustrations for the Index of American Design, a nationwide Federal Art Project.
Under the direction of Hamilton J. Eckenrode, the commission’s Division of History and Archaeology began making a record of historic buildings in Virginia in 1932. Field assistant (and artist) Rex M. Allyn took photographs of buildings while on assignment to the Division’s Historic Highway Marker project. From 1932 to 1937, Allyn and four other artists—Edward A. Darby, Dorothea A. Farrington, E. Neville Harnsberger, and Elsie J. Mistie—each created numerous pen-and-ink and pencil drawings from the photographs. In some cases, the artists were asked to make adjustments to the architectural details to … more
51 4 x 5-inch photographic cards
These photographs conform to the Kodak 1 camera’s distinctive 2.5-inch circular iris, and often capture those in the unidentified photographer’s entourage from a considerable distance, reducing them to delicate miniatures on hillsides or in sylvan glades. Tighter shots reveal happy-looking men and women in comfortably rumbled Victorian traveling clothes—apparently early enthusiasts of historic tourism. Other photos show an oxcart on the road to Petersburg, Grant’s headquarters at City Point (present-day Hopewell), Gen. William “Baldy” Smith’s headquarters during the Siege of Petersburg (referred to in the photo’s handwritten caption as “The Old Friend House”), a group luncheon on the grass of Petersburg’s famous “Crater,” St. John’s churchyard in Richmond, the State Capitol building, the bell tower and statues of Washington and Henry Clay (since removed) on the Capitol grounds. Also shown is a mothballed monitor-class gunship on the James, which, given the time and place the photo were taken, would have to be the Manhattan, Mahopac, or Tippecanoe.
Most of the photos have handwritten captions and are dated, with most taken on October 9, 1889.
90 glass slides, 3 x 4 inches, housed in original wooden box
These rare slides, many of which are hand-colored, offer a glimpse into the founding of the Richmond branch of Goodwill Industries by Dr. J. T. Mastin and the Rev. Samuel Coles in 1923, before its eventual merger with Citizens’ Service Exchange. Featured are detailed interior and exterior shots of early Goodwill-related activity, including refurbishment of furniture and clothing, horse-drawn Goodwill wagons, volunteers and patrons, several scenes of prison interiors (presumably in connection with Mastin’s correctional work), and many images unrelated to Richmond, including views of England and South Africa. The Goodwill headquarters featured so prominently in these images stood at 1814 E. Grace Street, only a few yards from the Craig House in Shockoe Bottom, and has since vanished without a trace.
The slides most likely served as a visual aid to educational or religious lectures. Lantern slides, as a technology, were popular in America as early as 1850, yielding “magic” projections of images large enough to be easily visible to large audiences.
The accompanying collection file contains much biographical information about Mastin (1855–1943), a Methodist minister, secretary of the State Board of Charities and Corrections, a native Virginian and, according to one article, “the South’s greatest social worker.”
18 pen-and-ink drawings, ranging in size from 5-1/8 x 6-5/8 inches to 14-5/8 x 7-3/8 inches
This collection of original illustrations and chapter head- and end-pieces was created by Edward A. Darby for Virginia: A Guide to the Old Dominion. Compiled by workers of the Work Projects Administration’s state-sponsored Virginia Writers’ Project (1940), the book was initiated as one in a series of state guides begun in 1935 under the Federal Writers Project and was designed to give work to writers, editors, historians, and researchers.
All thirteen of the drawings used in Virginia: A Guide to the Old Dominion can be found in this collection of lighthearted, optimistic, and idealized images. The detailed artwork depicts iconic landmarks, historic sites, and symbols of the early-20th-century countryside that would be recognizable to many Virginians today. Also included in the collection are five additional drawings that do not appear in the guide. They represent an imagined Virginia, where tidewater monuments stand at the foot of the Blue Ridge Mountains, and where oxcarts and buggies share the landscape with speeding trains, automobiles, and airplanes.
Arrangement and access:
The collection is arranged in a single series, corresponding to the order in which the illustrations appear in Virginia: A Guide to the Old Dominion, followed by the five remaining drawings.
1 album, 10 x 7 inches; 43 images
This album bears a handwritten inscription by Charles T. Cobb, dated March 1935: “The photographs in this album are of my deceased father and his Wolf Pitt Copper Mines, which he once owned and operated at Virgilina, Virginia, in the early 1900s, during the time we lived in the South. He sold the mine holdings in 1907 to the owners of the Blue Wing Copper Mines Co. for a very large amount.”
In addition to its photo-documentation of Virginia copper-mining practices of the turn of the century, this album contains rare visual information about Virgilina itself in its “boom days”—a busy little town of mining and moonshining, muddy roads and newly built hotels, houses and storefronts in a rugged landscape stripped of trees. Included are photos of the Jones Distillery, where corn whisky was manufactured (“by U.S. permit,” the handwritten caption assures us), local mining bosses William Battershill and George B. Cobb, and even the Hungarian “Count Carachristy” [sic], an expert in coal distillation.