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
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.
884 slides and approx. 500 electronic images
This collection contains the photographer’s 35mm Ektachrome color slides and digital scans of original prints. The images capture architectural, environmental, commercial, and cultural subjects in Virginia, including private homes, schools, restaurants, hotels, bridges, theaters, barns, churches, cemeteries, courthouses, post offices, fire and railway stations, drug stores, barber shops, banks, and service stations.
Pete Calos, an engineer at Allied Chemical for most of his professional life, made the images between 1977 and 2005 for local and architectural historians. In retirement, Calos began to write and illustrate his own travelogue presentations, with titles such as “Back Roads of Virginia,” “All 100 County Courthouses,” “Virginia Diners,” “Historic Route 1,” “Where Are You in Richmond?,” “Where Are You in Danville?,” and “McDonald’s Symphony.” Though a recreational photographer, Calos proved to have a sharp eye for the transience of the modern, and the foresight and technical ability to capture it, finding beauty in the open girder work of rural bridges and uncanny precision in typical bacon-and-eggs breakfasts. His “Diner Series,” focusing on River City, Tastee 29, Surrey House, and Virginia Diners, and the now-vanished Skull and Bones Restaurant on Virginia Commonwealth University’s medical campus, a haunt of medical students for decades, captures not only the restaurant buildings themselves but the staff, interior décor and fixtures, menus, and food. Similarly, his photographs of Virginia’s monumental Works Progress Administration murals in post … more
1 album, 7.5 x 9 inches; 360 cards
With the invention of wrapping machines in the 19th century, pieces of plain card were used as protective stiffeners to protect the contents of paper packages. By the late 1870s in the United States, Allen & Ginter were embellishing these inserts with advertisements and illustrations. This quickly became an efficient and creative means of cultivating brand loyalty, and the practice spread rapidly to Great Britain and other foreign manufacturers. By the 1890s, many of the larger British tobacco companies were issuing cards, and they soon progressed to series on particular themes: actresses, soldiers, ships, kings and queens, etc.
The outbreak of war in 1914 inspired many patriotic card issues. Multiple influences were at work: the spontaneous expression of national pride; a desire to help the war effort; an insatiable public craving for news, particularly good news and information; a wish to glorify the heroism of British forces; and a determination to demonstrate the supporting role of civilians on the home front. Three of the seven sets in the British Cigarette Card Collection represent this time period: Army Life (October 1910), Regimental Uniforms (July 1912 and July 1914), and Military Motors (October 1916).
The popularity of cigarette cards grew during the 1920s and 1930s. Many of the sets issued during this time were reissues of earlier series with a timeless appeal. Drum Banners & Cap … more
Four scrapbook albums, two photograph albums with 200+ photos, mixed ephemera
Unlike many of our Prints and Photographs Collections holdings, which derive from individual artists, photographers, and agencies, the Carney Christie Collection derives from many sources—family photos, postcards, handwritten correspondence (on hotel stationary), theater programs, newspaper clippings, and other ephemera—which dovetail into a mixed media portrait of an individual man.
A graduate of Staunton Military Academy, the actor Carney Pitcher Christie (1887–1932) gained early and enduring professional success on Broadway, perfecting the role of Pietro in Edward Locke’s comedy The Climax. Christie was the son of a prominent West Virginia druggist and brother to Mary Christie, a music teacher and sought-after pianist (and presumed assembler of the materials in our collection) with whom he often collaborated on popular “interpretive recitals” of Shakespeare, Sheridan, and Thomas Nelson Page. The family maintained residences in Richmond and Brooklyn, and a summer home in the resort town of Palmer Lake, Colorado, and Christie corresponded with them, especially Mary, during his theatrical tours all over the United States. According to one theater reviewer, he was “the very incarnation of buoyant youth.” About 1928, however, a “nervous collapse” forced Christie to quit touring and instead teach acting at the Leland Powers School in Boston. He later moved to Richmond to live with his sister’s family, where he died of a heart attack in 1932 at age 45. … more
178 photographs, 158 film negatives, 13 etchings
Courthouses were essential in establishing a sense of permanence and rule in early Virginia communities, being not only centers of legal and civic activity but venues for business and barter, playing host likewise to a spectrum of community-building social activities such as picnics and games. In the winter of 1940–1941, the Virginia-based Hirst Dillon Milhollen (1906–1970), an etcher by trade and chairman of the exhibits committee for the Washington Society of Etchers, photographed courthouses throughout the commonwealth, the only criterion for inclusion being that the courthouse had to predate 1871 in its construction. The following year, Milhollen privately printed Old Virginia Court Houses, a 100-edition loose-leaf portfolio whose etchings drew upon Milhollen’s own gathering of original photos.
Arrangement and access:
Alphabetical by county.
Etchings purchased 1973, photos and negatives purchased 1992
Hirst D. Milhollen, Old Virginia Court Houses (1942)—original limited edition portfolio held in LVA Special Collections
Related resources and collections:
Carl Lounsbury, The Courthouses of Early Virginia: An Architectural History (2005)… more
approx. 30,000 8 x 10 inch photographic prints
One of the Library’s most important image collections, the Virginia State Chamber of Commerce Photograph Collection is one of the most organized and comprehensive visual resources for twentieth-century Virginia history and culture. Think of it as the official photo album of the commonwealth of Virginia, documenting activity associated with cotton, peanut, textile, tobacco, and fishing industries; farming and harvesting; government; public and higher education; the arts; recreation and entertainment; and countless local festivals for the fifty years between 1922 and 1972. In its subjects the collection resembles (and is indeed the source for) many of the images in our 1939 World’s Fair Photograph Collection (C1:001), also produced by the Chamber of Commerce. Highlights include, but are by no means limited to, photographic coverage of Queen Elizabeth II’s 1957 visit to Jamestown, the restoration/re-creation of Colonial Williamsburg, historical reenactments, and areal photos. Images are generally of high quality and upbeat in mood and tone—not at all photojournalistic, but nevertheless capturing fascinating details of locale, transportation, décor, and clothing. The item numbers by which the collection is arranged also reflect the images’ chronology.
Arrangement and access:
A significant portion of the collection is available through the Library’s online collections searchable by keyword and date. The photographs are also searchable by subject using the collection’s original card index.
Related resources and collections:
1939 World’s Fair … more
12 lithographic cards, 2 x 3 inches
The mild pastels of these lithographic novelty cards belie their content, which is uncharacteristically downbeat for Southern wartime images. They feature Dixie caricatures populating scenes of defeat and despair, such as a man in gray—who appears to be lonesome, cold, and hungry—reminiscing about the “good times” of 1861. Most of these “life scenes” are not historically specific. “A Flank Movement” visually puns military action, showing a hungry soldier armed with a stiletto stalking an oblivious pig. “Heroes Still,” apparently a post-War scene, or one anticipating the fruits of pursuing a lost cause, shows humbled white Southerners tilling their own fields. Other scenes include “In a Bad Place,” “First Winter,” “Homesick,” “In the Trenches,” “The Vidette,” “The Camp Darkey,” “Following Stonewall,” and a sea battle captioned “No. 290.” The cards were originally held together into a dainty, homemade fascicle, fashioned from sackcloth, which includes the handwritten title of the collection along with an almost indecipherable name written in pencil: “Hope Stewart.”
Six of the images were reproduced in Cavalcade (winter, 1951).… more
194 glass-plate negatives, 21 film negatives
Architects William Leigh Carneal Jr. (1881–1958) and James Markam Ambler Johnston (1885–1974) founded their firm about 1908, after a year working independently but sharing office space in Richmond. Carneal & Johnston went on to become one of the most prolific and long-lived architectural practices in the state, by 1950 having shaped the distinctive architectural character of central Virginia, especially Richmond, with the completion of more than 1,300 buildings. The architects worked on a wide range of project types, from the mundane to the monumental, suburban bungalows to a proposed but never realized Ninth Street Victory Arch.
Amassed by the firm for documentary and promotional purposes, the Carneal & Johnston Collection photographically captures interior and exterior views of many commercial and municipal buildings, bridges, factories, apartments, and private residences, and includes a number of concept drawings entered into architectural competitions. Some of the most notable and easily recognizable structures represented in the collection include the First Virginia Regiment Armory (1913), the Richmond Dairy (1914) with its colossal milk bottles, the Colonial Theater (1919–1920), the Virginia State Office Building (1922–1923), and many collegiate gothic structures on the campuses of Richmond College (now the University of Richmond) and the Virginia Military Institute.