24 10 1402 https://openvalley.org/files/original/d64da06808e8e186aaee393e8af273e2.png 07f85772225f1b7cb510b6da6cea8504 Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Text Any textual data included in the document Excerpt from The Livingston Republican showing Livingston County court decisions Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Newspaper 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 Court Excerpts from "Livingston Republican" Description An account of the resource An excerpt from The Livingston Republican from December 1857 that shows how decisions of local court cases were broadcast to the public. Publisher An entity responsible for making the resource available The Livingston Republican Date A point or period of time associated with an event in the lifecycle of the resource 1857-12 Contributor An entity responsible for making contributions to the resource Valvo, Connor Format The file format, physical medium, or dimensions of the resource .png, 320 KB Type The nature or genre of the resource Text Cases County Court Livingston Newspaper Republican Sheffield Peabody Supreme https://openvalley.org/files/original/792ee1e0edea238a9bf7ec884b0d862e.jpg 96ba7724299b7db544efca2cd2166d21 https://openvalley.org/files/original/720f43db5b0a4d1a63d53641e11518b0.jpg 735c38c7d1dbf9c16f3c9b960c00a01b 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 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 Cover of Henry D. Thoreau's Walden Description An account of the resource Influential account of two years lived near Walden Pond, MA by Transcendentalist writer. One recurring theme in the text is the search for a home and its cost, which Thoreau defined as "the amount of what I will call life which is required to be exchanged for it, immediately or in the long run." Rather than laboring to pay for a more conventional home, Thoreau builds his own cabin and conceives of home as the larger space surrounding it. The book's title page illustration, created by Thoreau's sister Sophia, shows the 10' x 15' cabin and its woodshed in a cozy setting that echoes "life in the woods" as a pleasant, even domestic experience. Creator An entity primarily responsible for making the resource Thoreau, Sophia Publisher An entity responsible for making the resource available Ticknor and Fields Date A point or period of time associated with an event in the lifecycle of the resource 1854 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived <a href="https://commons.wikimedia.org/wiki/File:Walden_Thoreau.jpg" target="_blank" rel="noopener">Courtesy of Wikimedia Commons</a> Format The file format, physical medium, or dimensions of the resource jpeg, 504 KB jpeg 310 KB Type The nature or genre of the resource Still image Cabin Henry David Thoreau Walden Pond https://openvalley.org/files/original/06c2b4a8ccb31b841b5dc5a3abff67c2.png 15154017b1bca747aa68c9c14e4a1f80 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 Crab in a Plastic Cup Description An account of the resource A crab is floating in a plastic cup in the ocean Creator An entity primarily responsible for making the resource Noel Guevara Publisher An entity responsible for making the resource available National Geographic Date A point or period of time associated with an event in the lifecycle of the resource 2019-03-15 https://openvalley.org/files/original/7fa36929696bf73a699018a8fb439b14.png 900d51b41626bae28c76b4f2d973de29 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 photograph 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 Crop Dusting Plane Creator An entity primarily responsible for making the resource Magarell Date A point or period of time associated with an event in the lifecycle of the resource July 5, 2008 Source A related resource from which the described resource is derived public domain, Flickr.com https://openvalley.org/files/original/0ea2533508c5b3b3bf1bb27084149359.jpg d4d9cac3bf7d2d7f5cf739712a9238c4 https://openvalley.org/files/original/a417dbb1ae586d8f74b72ecbd7627fe8.jpg 3bfd1732b5efa3f45171b99ae8b214a8 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." 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. 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 Wood engraving Physical Dimensions The actual physical size of the original image 6 x 4 5/16 in. (image) 11.5 x 9 in. (sheet) 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 Cropper's Return Description An account of the resource In a small, virtually unfurnished shack three people receive the titular sharecropper—two women and an elderly man, perhaps his father. Raboy’s possible allusion to the Prodigal Son’s return, however, is a sad moment: highlighted at the center of Raboy’s wood engraving is an empty hand above an empty table. Whether this moment captures the conclusion of a day’s work or some longer migration isn’t clear. The two women look out the door into a dark future; surely this would have resonated with many Americans in 1935. Despite no visible lighting source, the print is illuminated with high-key drama encircled by dark shadows. Clothing, wood grain, laundry, wooden siding, and even a beard all ripple with patterned light. It is a style characteristic of the artist’s other FAP works and successfully translated into a later career in comics. There also may be an autobiographical dimension to this print since the artist’s immigrant father, Ayzik (Isaac) Raboy, worked in agriculture for several years and wrote about his North Dakota experiences in Yiddish novels and short stories. “Cropper’s Return” was exhibited at the Whitney Museum of Art and singled out at a National Academy of Art show by the New York Times critic, who placed it “at the head of the list” (27 Mar. 1938: 142). About the Artist: Raboy is one of the better-known Federal Art Project lithographers among collectors, albeit for his subsequent work in comics, where some original drawings sell for hundreds of thousands at auction. He was born in New York City to Sarah and <a href="https://congressforjewishculture.org/people/896/Raboy-Ayzik-Isaac-November-15-1882-January-10-1944" target="_blank" rel="noopener">Ayzik (Isaac) Raboy</a>, the latter a well-regarded Yiddish novelist who explored the contradictions of immigrant culture in works like The Jewish Cowboy (Der yidisher kauboy, 1942). Mac Raboy was a precocious artist who studied at the New York School of Industrial Arts and The Pratt Institute Art School; he marked his twentieth birthday submerged in the Great Depression. Between 1935 and 1939, Raboy created more than a dozen prints for the Federal Art Project. His high-contrast wood engravings, dramatically composed subjects, expressive bodies, and social concerns already were cohering into a distinctive style. His works were exhibited at the National Academy of Design, Art Institute of Chicago, the Whitney Museum of American Art, and the 1939 World’s Fair in New York. In 1940 Raboy began working as an illustrator for Fawcett Publications, specifically its comics division. His big break came in 1941 with a spin-off series called Captain Marvel Jr., whose disabled newsboy protagonist can transform into an heroic version of himself—not entirely different in outward appearance. Raboy became known for fine detail and dynamic, <a href="https://upload.wikimedia.org/wikipedia/commons/8/80/MasterComics34.jpg" target="_blank" rel="noopener">almost gravity-defying composition</a>. With the outbreak of WWII, his series—along with work on other titles like Bulletman and Green Lama—joined the Allied Forces with strong anti-Nazi storylines. One especially interesting work during this period was a true-life story for Look Magazine in 1943. “One of Our Bombers is Missing” recounts an American B-17 bomber crew that is forced to crash-land in the Atlantic, still calling upon Raboy's FAP knack for human drama and <a href="https://openvalley.org/files/original/f4bcbcac3b8a3387391c4026e8ec8d54.jpg" target="_blank" rel="noopener">told in sequential panels</a>. In 1948 Raboy achieved what he considered his dream job: illustrating the (color) Sunday newspaper series of <a href="https://openvalley.org/files/original/fedc597e3b9d0028fd0641bb6894b439.jpg" target="_blank" rel="noopener">Flash Gordon</a>, which he continued until his death in 1967. <a href="https://americanart.si.edu/artist/mac-raboy-3916" target="_blank" rel="noopener">4 works</a> at Smithsonian American Art Museum. <a href="https://www.artic.edu/artists/44426/mac-raboy" target="_blank" rel="noopener">4 works</a> at the Art Institute of Chicago. <a href="https://www.pct.edu/gallery/victory-for-a-dime/mac-raboy" target="_blank" rel="noopener">2 works</a> at The Gallery at Penn College. <a href="https://onlinecollections.syr.edu/people/5002/mac-raboy/objects" target="_blank" rel="noopener">3 works</a> at Syracuse University Art Museum. 3 images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-18-folder-45" target="_blank" rel="noopener">FAP</a>. 10 images at <a href="https://art.gsa.gov/people/1964/mac-raboy/objects" target="_blank" rel="noopener">GSA</a>. <a href="https://www.comics.org/creator/8531/covers/" target="_blank" rel="noopener">142 comics covers</a> at Grand Comics Database. Mac Raboy Fan Group (<a href="https://www.facebook.com/groups/580202255388383/posts/9271122572962931/" target="_blank" rel="noopener">facebook</a>). Works Consulted: Alex Jay, “Mac Raboy” at Stripper’s Guide: Explorations in Newspaper Comics History 14 Dec. 2022 <a href="https://comicstriphistory.com/?s=mac+raboy&cat=all&year=All+Years&monthnum=All+Months&order=desc&posts_per_page=10&post_type=post" target="_blank" rel="noopener">Link</a>; Roy Thomas, Mac Raboy: Master of the Comics (2019) <a href="https://13thdimension.com/a-tribute-to-captain-marvel-jr-s-mac-raboy-by-roy-thomas/" target="_blank" rel="noopener">Link</a>; Peter Hastings Falk, ed., Who Was Who in American Art (1999) <a href="https://archive.org/details/whowaswhoinameri0003unse/page/2689/mode/1up" target="_blank" rel="noopener">Link</a> Creator An entity primarily responsible for making the resource Raboy, Emanuel (Mac), 1914-1967 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 Contributor An entity responsible for making contributions to the resource Cooper, Ken (description & biography)  Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum Object #FA1437 Format The file format, physical medium, or dimensions of the resource jpeg, 1.4 MB jpeb, 566 KB Type The nature or genre of the resource Still image Agriculture Federal Art Project Mac Raboy New Deal Museum woodcut https://openvalley.org/files/original/33b3037d220d833c06875cbf08819c86.jpg b20ef040c2b3670161084b99ed438d36 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 Caledonia 1892 Description An account of the resource This collection of images is based upon <a href="https://openvalley.org/files/original/3ae1204165be3bf753a4d31e568da22a.jpg" target="_blank" rel="noopener">an 1892 birds-eye panorama of Caledonia, NY</a> published by Burleigh Litho of Troy, NY. According to John William Reps, Lucien R. Burleigh was responsible—whether as artist or publisher—for some 228 lithographic city views (it is possible, even likely that the Caledonia map was executed by an employee named Christian Fausel). Trained as a civil engineer, economic recession pressed Burleigh into finding other ways of making a living. He began city viewmaking during the 1870s and by the mid-1880s was well established in his profession. His usual practice was to work from an available map, determine the most advantageous viewpoint (for a village like Caledonia, typically 1500 feet above the ground), and making small sketches at the street level. Another important task during a two- or three-week stay was soliciting subscriptions for the panorama: it took perhaps 100 persons, each paying $2.50-3:00 for a map, for the project to break even. The Burleigh map’s legend provides us with a snapshot of Caledonia in 1892, just recovering from a major fire in 1891. It lists railroad stations, churches, the public school, and even Seth Green’s fish hatchery, but a majority of the numbered locations are commercial enterprises—a likely base of customers for purchasing copies of the completed work. Using old newspapers and trade magazines, this collection has gathered advertising from most of the businesses. Its purpose is to populate an interactive map for the “Heraldry” section of the “Clans of Caledonia” exhibit, where we see immigrant affiliations interacting with national and commercial icons—a complex process of so-called “Americanization.” Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Thanks to Tom Tryniski, Fulton History 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 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 Cross Botonee Description An account of the resource This resonant symbol appears near the end of a 1904 history of the Western New York Diocese of the Protestant Episcopal Church. It was fairly common in the Anglican church and its Episcopal branches in the United States, one of them St. Andrew's Episcopal Church in Caledonia, NY. Called a cross botonee (or bottony), the three "buds" at each of four arms sometimes are taken to stand for the twelve apostles. Its design also references the four apostles in symbolic form: Matthew (the angel at top), Mark (the winged lion), Luke (the winged bull), and John (the eagle). Finally, we see a pair of crossed croziers, emblematic of the shepherd's pastoral staff. These elements sometimes found their way into ecclesiastical and familial heraldry--not easy to untangle from the Scottish clan heraldry in Caledonia. Publisher An entity responsible for making the resource available Scrantom, Wetmore Co., Rochester NY Date A point or period of time associated with an event in the lifecycle of the resource 1904 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Charles Wells Hayes, "The Diocese of Western New York: History and Recollections" (Rochester: Scrantom, Wetmore, 1904): 408. Courtesy Internet Archive Format The file format, physical medium, or dimensions of the resource jpeg, 111 KB Type The nature or genre of the resource Book illustration Caledonia, NY Episcopal Church St. Andrew's Episcopal Church https://openvalley.org/files/original/e6542a4dc2fb0ea711d368d55796df18.jpg 44d4fba0557ff5e5a273136418d053ef https://openvalley.org/files/original/487fcbfc657bbba4486bdd81636f98ef.jpg cd5fe544384bd6c8e4e97543f9b27d8c 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 Newspaper lithograph 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 Crosskill's Clod-Crusher Description An account of the resource Two horses and a farmer working the fields. Publisher An entity responsible for making the resource available The Genesee Farmer Date A point or period of time associated with an event in the lifecycle of the resource 1856-09 Format The file format, physical medium, or dimensions of the resource jpeg, 595 KB Language A language of the resource English Contributor An entity responsible for making contributions to the resource Williams, Audrey Source A related resource from which the described resource is derived The Genesee Farmer 17.9 (Sept. 1856): 276 Courtesy of Internet Archive Type The nature or genre of the resource Still image agricultural machinery Crosskill Farm implements Geneseo Migrant Center The Genesee Farmer https://openvalley.org/files/original/7d0a894e43e2cfb0fa94e6c4987bb0e2.jpg 4d6c31462979b76cf7d179f19b665fc8 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 Crowds walking to the Hemlock Fair, ca. 1900 Description An account of the resource At the northern end of Hemlock Lake, originally called "Slab City," a fair has been held since the 1860s. Here, a crowd that may have recently disembarked from the Lehigh Valley Railroad station (just behind the mill at left) walks south on Main Street toward the fair. Date A point or period of time associated with an event in the lifecycle of the resource 1900? Contributor An entity responsible for making contributions to the resource Morgan, Douglas Cooper, Ken Source A related resource from which the described resource is derived Photo courtesy of Douglas Morgan Format The file format, physical medium, or dimensions of the resource jpeg, 550 KB 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 Photograph 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 Crowds walking to the Hemlock Fair, ca. 1900 Description An account of the resource Since the 1860s a fair has been held at the northern end of Hemlock Lake, then called "Slab City." This crowd may have just disembarked from the Lehigh Valley Railroad station, behind the mill. Date A point or period of time associated with an event in the lifecycle of the resource 1900? Contributor An entity responsible for making contributions to the resource Morgan, Douglass Cooper, Ken Source A related resource from which the described resource is derived Photo courtesy of Douglas Morgan Format The file format, physical medium, or dimensions of the resource jpeg, 550 KB Hemlock Hemlock Fair Networks Sheffield Peabody https://openvalley.org/files/original/541301d3a77e08152d6a3ac5f2229df9.jpg fca3395af129292b3613945e9ed13360 https://openvalley.org/files/original/008588f1454011311b620e3969bc8cb3.jpg a7a70632703c69d6cee5802b12aa57af 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." 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. 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 Wood engraving Physical Dimensions The actual physical size of the original image Image: 8 x 6 1/2 in. Sheet: 11 1/2 x 8 3/4 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/. Format The file format, physical medium, or dimensions of the resource jpeg, 990 KB jpeg, 996 KB Title A name given to the resource Cumberland Checkers Description An account of the resource About the Artist: Born in Milwaukee, WI, Schardt studied at the Art Institute of Chicago and then the Art Students League in New York. His works were exhibited at the Federal Gallery and the Municipal Art Gallery. Beginning in the 1935 Schardt began working for the Federal Art Project in a variety of roles: printmaker, allocations administrator, facilitator in the Poster Division; he oversaw the WPA demonstration exhibits at the 1939 World’s Fair. During this period Schardt and his wife, the WPA artist Nene Vibber, shared a flat with Jackson Pollock. Schardt’s background in printmaking and administrative capacities often extended beyond the galleries. In the late 1930s and early ‘40s he worked for the National Youth Administration (NYA) at its Art Production Unit, where students learned about commercial art while creating posters for the Farm Security Administration (FSA) and military recruiters (“NYA Youth”). After World War II, his friend Jackson Pollock mentions Schardt working at “silkscreen printing (cosmetics) on a big skale [sic]” (Savig 192). He also continued to mentor young artists via lessons at the Brooklyn Musuem. 4 works at <a href="https://americanart.si.edu/artist/bernard-schardt-4288" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 4 works at <a href="https://www.nga.gov/collection/artist-info.33966.html" target="_blank" rel="noopener">National Gallery of Art</a>. 1 work at Metropolitan Museum of Art. 2 works at the Brooklyn Museum. 3 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-20-folder-29" target="_blank" rel="noopener">FAP</a>. 12 images at <a href="https://art.gsa.gov/people/2325/bernard-p-schardt/objects" target="_blank" rel="noopener">GSA</a>. Sources Consulted: University of Michigan Museum of Art, The Federal Art Project : American Prints from the 1930s in the Collection of the University of Michigan Museum of Art (University of Michigan Museum of Art, 1985); “NYA Youths Design Air Corps Posters,” Brooklyn Eagle 24 Aug. 1941: 6A; Mary Savig, ed., Pen to Paper: Artists’ Handwritten Letters from the Smithsonian’s Archives of American Art (Princeton Architectural Press, 2016). Creator An entity primarily responsible for making the resource Schardt, Bernard P., 1904-1979 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 1935-1942 Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1490 Bernard P. Schardt Federal Art Project Games New Deal Gallery woodcut https://openvalley.org/files/original/1615e06dda7b282572e6682940b3ae56.jpg 2048952092faa31266b6034ab33afaf7 https://openvalley.org/files/original/18cef2048efe83621240c5f48c1ad2b0.jpg 115d123ca15349e686cb66329bf0dbb2 https://openvalley.org/files/original/f8483a9c0a5cfc37d62747ba9d4d99a1.jpg 2b773f39b42617727d355e8a9f313c53 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 Perry Knitting Co. Description An account of the resource This collection gathers documents for a Perry Knitting Co. exhibit on OpenValley. They are drawn from from three main sources. First, the Clark Rice Photography Collection at the Perry, NY Public Library. Rice was a prolific photographer in Western New York throughout the mid-20th century. This collection includes scans of his work, and copies of images from the turn of the century photographer Merrium Crocker, whose studio Rice purchased. Secondly, the Henry Page Local History Files. Page was president of First National Bank of Perry, and a local historian associated with the public library for nearly five decades. His uncle, William, had helped secure funding from the Carnegie Corporation for its establishment in 1900 and construction in 1914. The Page collection contains various historical materials and photographs accumulated by him over the years. Thirdly, we draw upon various public domain texts, such as maps from the Library of Congress or <a href="http://perrypubliclibrary.advantage-preservation.com/" target="_blank" rel="noopener">digitized articles from local newspapers</a>. All images here are selections from these collections, chosen for their relevance to OpenValley project. We gratefully acknowledge the generosity of the Perry Public Library and its Director, Jessica Pacciotti. Contributor An entity responsible for making contributions to the resource Meghan Cobo, Ken Cooper, Michaelena Ferraro, Melisha Gatlin, Andrew Gleason, Macaire Lisicki, Ben Michalak, Ethan Pelletier, Emma Raupp, Mariah Rockwell. Special thanks to Jessica Pacciotti at the Perry Public Library. 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 Photograph Physical Dimensions The actual physical size of the original image 7 x 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 Cutters of the P.K. Co. Description An account of the resource This striking photograph captures a moment in time when cutting textile patterns was in transformation from a skilled to a semi-skilled operation. Given all of machinery at the Perry Knitting Co., perhaps there's a statement being made via the pile of "bent trimmers" in front of the workers: cutting underwear patterns required skill. We see here thirteen individuals, two of them women, looking boldly at the photographer. On the reverse side, a date is noted and that the photograph comes courtesy of Mrs. Gordon Herring. Publisher An entity responsible for making the resource available Perry, NY Public Library Date A point or period of time associated with an event in the lifecycle of the resource 1897 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Henry Page Historical Documents Format The file format, physical medium, or dimensions of the resource jpeg, 2.4 MB jpeg, 1.8 MB Type The nature or genre of the resource Still image Cutting Room Henry Page Historical Documents Perry Knitting Co. Perry, NY