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https://openvalley.org/files/original/c4f7c680dced6be47906328b1b2cc9fb.jpg
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https://openvalley.org/files/original/ead1427b39a012709118872bb1da2771.jpg
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Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Original Format
The type of object, such as photograph, map, drawing, painting, etc., and any additional data
Book illustration
Physical Dimensions
The actual physical size of the original image
4.5 x 6.5 in.
11 x 8.5 in.
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
Rip Darcy, Adventurer
Creator
An entity primarily responsible for making the resource
Witten, Bunty, 1894-1968
Description
An account of the resource
Rip Darcy is orphaned the son of a seafaring family and the protagonist of a 1938 book written by Jack O'Brien and illustrated by New Deal Gallery artist <a href="https://openvalley.org/items/show/1264" target="_blank" rel="noopener">Bunty Witten</a>. As the story opens Rip is found upon a deserted Pacific Island near Pago Pago, having lived there a year with only his dog Junie for company. What follows is a series of tales that owes something to the boys adventure genre and perhaps <a href="https://en.wikipedia.org/wiki/The_Adventures_of_Tintin" target="_blank" rel="noopener">The Adventures of Tin Tin</a> by the Belgian artist Hergé. Certainly, both share a love of the global exotic and model a next generation of European explorers who are "clean, straight-forward, unafraid."<br /><br />An interesting innovation of the book is that Rip interacts with real-life members of New York City's Adventurers club, including Witten's husband George Witten. Against the backdrop of manly adventures—wild game hunting, aeronautics, and so on—there is a sweetness to Witten's illustrations that mitigates self-congratulatory tales.
Publisher
An entity responsible for making the resource available
John C. Winston Company
Date
A point or period of time associated with an event in the lifecycle of the resource
1938
Contributor
An entity responsible for making contributions to the resource
Cooper, Ken
Source
A related resource from which the described resource is derived
Jack O'Brien, <em>Rip Darcy, Adventurer</em> (John C. Winston, 1938)
Format
The file format, physical medium, or dimensions of the resource
jpeg, 492 KB
jpeg, 602 KB
Type
The nature or genre of the resource
Still image
Boy's Books
Bunty Witten
lithograph
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https://openvalley.org/files/original/db4698a917430da0e48e11615a92e03b.JPG
6bf16a929a9fcd42f66447bdaf559a0b
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
New Deal Gallery
Description
An account of the resource
This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." <br /><br />Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame.<br /><br />Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options.
Date
A point or period of time associated with an event in the lifecycle of the resource
1935-1940
Contributor
An entity responsible for making contributions to the resource
Cooper, Ken (project director)
Ritz, Abigail (photography and project assistant)
Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee.
Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato.
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Original Format
The type of object, such as photograph, map, drawing, painting, etc., and any additional data
Oil painting
Physical Dimensions
The actual physical size of the original image
20 x 24 in.
Condition: surface dirt
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
Lilies
Format
The file format, physical medium, or dimensions of the resource
jpeg, 1.1 MB
Description
An account of the resource
From slightly above a table, we look down upon a vase of trumpet lilies playing in all directions, their green foliage lush. A dark background adds dramatic contrast the white lilies. Next to the vase is a figure wearing a helmet or headress with a red jewel. <br /><br /><span style="text-decoration: underline;">About the Artist</span>: There are conflicting, possibly invented details surrounding the life of this colorful artist. Born in England to a Spanish father and English mother, her birth name was Mable Alice Mary Azue; her stated birth date ranges between 1896 and 1901. According to a 1951 newspaper feature, her mother was killed during a 1914 German bombing raid of London, then the teenager’s education was sponsored by a soldier named George W. Witten, who married her a year later when she was sixteen. Col. Witten’s own story—of running away from home to become a soldier of fortune, fighting in the Boer War, plotting to overthrow Venezuela, publishing exposes of fraudulent stock transactions—has its own interests, not least his profession as writer-adventurer (Hooper, “Soldier”). Bunty Witten’s life as an artist included study in New York with Michel Jacobs and fashion designer Ethel Traphagen, then briefly at Académie Colarossi in Paris. Her work included commercial art, interior design, and book illustration. A charming illustration for Jack O’Brien’s <a href="https://openvalley.org/items/show/1332" target="_blank" rel="noopener"><em>Rip Darcy, Adventurer</em> (1938)</a> shows her talent for portraiture, which included several well-known figures: Gen. Robert Lee Bullard and the aviators Amelia Earhart and Jessie “Chubbie” Miller. As of the late 1930s she and her husband, Col. George W. Witten, had relocated to St. Petersburg, FL.<br /><br /><u>Sources Consulted</u>: Paul Hooper, “The Vista That Hides the View,” <em>Tampa Tribune</em> 18 Nov. 1951: 45; Paul Hooper, “Soldier of Fortune Finally Reaches ‘Journey’s End,’” <em>Tampa </em>Tribune 15 June 1952: 46; Lilian Blackstone, “Artist and Husband Forget Their Proposed Trip to Guatemala as Soon as They Reach Here,” <em>Tampa Bay Times</em> 30 April 1932: 14.
Creator
An entity primarily responsible for making the resource
Witten, Bunty, 1894-1968
Publisher
An entity responsible for making the resource available
Federal Art Project
Date
A point or period of time associated with an event in the lifecycle of the resource
1935-1940
Contributor
An entity responsible for making contributions to the resource
Ritz, Abigail (photography)
Cooper, Ken (biography)
Source
A related resource from which the described resource is derived
New Deal Gallery, Genesee Valley Council on the Arts
Object #FA18372
Type
The nature or genre of the resource
Still image
Identifier
An unambiguous reference to the resource within a given context
200
Bunty Witten
Federal Art Project
New Deal Gallery
still life