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              <name>Title</name>
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                  <text>Perry Knitting Co.</text>
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                  <text>This collection gathers documents for a Perry Knitting Co. exhibit on OpenValley. They are drawn from from three main sources.&lt;br /&gt;&lt;br /&gt;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. &lt;br /&gt;&lt;br /&gt;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.&lt;br /&gt;&lt;br /&gt;Thirdly, we draw upon various public domain texts, such as maps from the Library of Congress or &lt;a href="http://perrypubliclibrary.advantage-preservation.com/" target="_blank" rel="noopener"&gt;digitized articles from local newspapers&lt;/a&gt;. 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.</text>
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                  <text>Meghan Cobo, Ken Cooper, Michaelena Ferraro, Melisha Gatlin, Andrew Gleason, Macaire Lisicki, Ben Michalak, Ethan Pelletier, Emma Raupp, Mariah Rockwell.&#13;
&#13;
Special thanks to Jessica Pacciotti at the Perry Public Library.</text>
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                <text>Empty Lunchroom at Perry Knitting Co. </text>
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                <text>8 x 10 picture of the lunch room at the Perry Knitting Company.  Clark notes it as a cafeteria,  probably taken with flash powder as this time preceded the use of flash bulbs.&#13;
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                <text>Clark Rice </text>
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                <text>Perry, NY Public Library </text>
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                <text>Unknown </text>
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                <text>Pelletier, Ethan </text>
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                <text>Clark Rice Photography Collection</text>
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        <name>Cafeteria</name>
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        <name>Clark Rice Photograph Collection</name>
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        <name>Perry Knitting Co.</name>
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        <name>Perry Knitting Co. Work Day</name>
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        <name>Perry NY</name>
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                  <text>New Deal Gallery</text>
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                  <text>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." &lt;br /&gt;&lt;br /&gt;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. &lt;a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener"&gt;Follow this hyperlink to a short introduction to the New Deal Gallery collection&lt;/a&gt;. 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.&lt;br /&gt;&lt;br /&gt;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.</text>
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                  <text>1935-1940</text>
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                  <text>Cooper, Ken (project director)&#13;
&#13;
Ritz, Abigail (photography and project assistant)&#13;
&#13;
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.&#13;
&#13;
Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato.</text>
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      <name>Still Image</name>
      <description>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.</description>
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          <name>Original Format</name>
          <description>The type of object, such as photograph, map, drawing, painting, etc., and any additional data</description>
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              <text>Oil painting</text>
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          <description>The actual physical size of the original image</description>
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              <text>20 x 24 in.</text>
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              <text>Condition: surface dirt</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Entrance to Chapel, St. Tropez</text>
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                <text>A clean sunny painting that shows a chapel next to a tall tree, beneath a light blue sky. Painted very smoothly with little to no noticeable brush strokes, this illustrates a warm and amiable picture with a pleasant vibe. Boasts a green, light sky blue, and reddish-mahogany color scheme. &lt;br /&gt;&lt;br /&gt;&lt;span style="text-decoration: underline;"&gt;About the Artist&lt;/span&gt;:&amp;nbsp;The son of Irish immigrants, Alger was born in Boston, MA and studied at the Lowell Institute of Design and the Massachusetts Institute of Technology. Around 1914, he began dividing his time between Massachusetts and showing his work in New York group exhibitions; a 1921 review of the Whitney Studio Club declared that its “chief interest centers about the technical novelty of John Alger. He has painted some sand dunes with a sweeping grace despite the fact that his colors, always modest, are laid down flatly and without accent” (&lt;em&gt;New York Tribune &lt;/em&gt;18 Dec. 1921: 50). Another admiring critic thought Alger had “developed a point of view which represents the utmost in simplification without, however, becoming in any sense of the word an abstractionist” (&lt;em&gt;Brooklyn Daily Eagle &lt;/em&gt;7 Mar. 1926: 66). Alger was a founding member of the Salons of America. In later years, he seems to have taught art lessons in addition to his painting. 5 more images at &lt;a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-1-folder-16"&gt;FAP&lt;/a&gt;.</text>
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            <description>An entity primarily responsible for making the resource</description>
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                <text>Alger, John [Herbert], 1879-1967</text>
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                <text>Federal Art Project</text>
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                <text>Ritz, Abigail (photography)&#13;
&#13;
Bang, Jay (biography)&#13;
&#13;
Cooper, Ken (biography)</text>
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            <description>A related resource from which the described resource is derived</description>
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                <text>New Deal Gallery, Genesee Valley Council on the Arts&#13;
&#13;
Object #FA18109</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>1935-1940</text>
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          <name>Original Format</name>
          <description>The type of object, such as photograph, map, drawing, painting, etc., and any additional data</description>
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              <text>Engraving</text>
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              <text>2.5 x 5 in.</text>
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            <description>A name given to the resource</description>
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                <text>Entrance to the Niagara River</text>
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                <text>Lossing, Benson J[ohn] (1813-1891)</text>
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                <text>1868</text>
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                <text>Cooper, Ken</text>
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                <text>The Pictorial Field-book of the War of 1812; or, Illustrations, by Pen and Pencil, of the History, Biography, Scenery, Relics and Traditions of the Last War for American Independence (Harper &amp; Brothers, 1868): 597.&#13;
&#13;
Thomas Fisher Canadiana Collection, University of Toronto, via Internet Archive&#13;
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>The strategic importance of forts at the mouth of Niagara River is shown graphically here: during the War of 1812 it was extremely difficult for either British or American ships to make it past the cannons of (respectively) Fort Niagara or Fort George. Lossing's illustration shows the situation ahead of the Battle of Fort George in May 1813. His note reads: “This view is from a drawing made in 1813, previous to the attack on Fort George, and published in the Port Folio in July, 1817. On the extreme left is seen Fort Niagara, and at a greater distance, across the river, Fort George and the village of Newark. To the right of the light-house, over which is a flag, is seen the battery which the Julia and Growler controlled” (597).</text>
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        <name>Fort George</name>
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        <name>Fort Niagara</name>
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        <name>Lake Ontario</name>
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        <name>Lossing, Benson</name>
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        <name>Niagara River</name>
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        <name>War of 1812</name>
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        <name>Watersheds</name>
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              <text>Envelope</text>
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                <text>Envelope addressed to Sylvia Kelly with two handwritten quotes</text>
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                <text>An envelope addressed to Sylvia Kelly and the Geneseo Migrant Center from New York City has two different colored handwritten quotes on top of it. Judging from its postmark, we can speculate it dates to around 2003 and may have been Kelly jotting down phrases that she had heard during the course of her work as director of the Creative Artists Migrant Program Services (CAMPS). &lt;br /&gt;&lt;br /&gt;The quote with black ink to the left says, "even the rocks cry out like a baby because of the sun." The other one to the right with red ink states, "It was very hot inside and breathing sometimes was a gift." Given their subject matter, it seems likely these were migrant farmworkers telling Kelly about the conditions of their labor.</text>
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                <text>Michalkow, Nikolete </text>
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                <text>Photograph of an earlier photograph shows Genesee River flood waters level with the aqueduct, while a canal boat makes the crossing.</text>
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                <text>Albert R. Stone Negative Collection, Rochester Museum &amp; Science Center, image # sct02769 &#13;
&#13;
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                <text>It opened in 1865 and the existing structure was completed in 1879. Passenger service was provided by the Erie Railroad and from 1907 until 1941 this included electric passenger trains which traveled to Rochester Depot.</text>
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                <text>Erie-Lackawanna Bridge, Salamanca NY, 1972</text>
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                <text>Beginning June 22, 1972 slow-moving Hurricane Agnes made landfall in New York state and by the next day had deluged Southern Tier communities with heavy rains. Major rivers like the Allegheny, Genesee, and Susquehanna were many feet above flood stage--in some cases rising by seven inches per hour--and several towns declared evacuations. The damage was considerable: bridges, railway lines, businesses, homes, and farms were flooded.&#13;
&#13;
Following in a long American tradition, a rapidly published book of photos and descriptions was created to commemorate the event. In this photograph, the caption reads: "Flooding in area of Erie-Lackawanna bridge over Little Valley Creek in West Salamanca. "</text>
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                <text>W.H. Greenhow Co.</text>
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                <text>&lt;em&gt;Flood: The Southern Tier's June 1972 Disaster: A Pictorial Review &lt;/em&gt;(Hornell, NY: 1972)&lt;br /&gt;&lt;br /&gt;Courtesy of Internet Archive</text>
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                  <text>This collection gathers documents for a Perry Knitting Co. exhibit on OpenValley. They are drawn from from three main sources.&lt;br /&gt;&lt;br /&gt;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. &lt;br /&gt;&lt;br /&gt;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.&lt;br /&gt;&lt;br /&gt;Thirdly, we draw upon various public domain texts, such as maps from the Library of Congress or &lt;a href="http://perrypubliclibrary.advantage-preservation.com/" target="_blank" rel="noopener"&gt;digitized articles from local newspapers&lt;/a&gt;. 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.</text>
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                  <text>Meghan Cobo, Ken Cooper, Michaelena Ferraro, Melisha Gatlin, Andrew Gleason, Macaire Lisicki, Ben Michalak, Ethan Pelletier, Emma Raupp, Mariah Rockwell.&#13;
&#13;
Special thanks to Jessica Pacciotti at the Perry Public Library.</text>
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    </collection>
    <itemType itemTypeId="6">
      <name>Still Image</name>
      <description>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.</description>
      <elementContainer>
        <element elementId="7">
          <name>Original Format</name>
          <description>The type of object, such as photograph, map, drawing, painting, etc., and any additional data</description>
          <elementTextContainer>
            <elementText elementTextId="12392">
              <text>Photograph</text>
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          </elementTextContainer>
        </element>
        <element elementId="10">
          <name>Physical Dimensions</name>
          <description>The actual physical size of the original image</description>
          <elementTextContainer>
            <elementText elementTextId="12393">
              <text>8 x 10 in.</text>
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          </elementTextContainer>
        </element>
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      <elementSet elementSetId="1">
        <name>Dublin Core</name>
        <description>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/.</description>
        <elementContainer>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="12385">
                <text>Even Dogs Sit Up for Nitey-Nites</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="12386">
                <text>Boy and girl are posed, with a scene-stealing dog, wearing Nitey Nite pajamas for promotional photo whose proposed tagline is inked on print.&#13;
&#13;
Clark Rice writes: "Another Nitey-Nite pajama picture. Not all these prints would have been used in their advertising. Some would have been used as proof prints to show what we had photographed. Here our dog Spring is shown begging from Tom Smithgall. I do not remember the name of the little girl we used in this setting."</text>
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            </elementTextContainer>
          </element>
          <element elementId="45">
            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
            <elementTextContainer>
              <elementText elementTextId="12387">
                <text>Perry, NY Public Library</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="12388">
                <text>1958</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="37">
            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
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              <elementText elementTextId="12389">
                <text>Cooper, Ken</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="48">
            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
            <elementTextContainer>
              <elementText elementTextId="12390">
                <text>Clark Rice Photography Collection</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="12391">
                <text>jpeg, 985 KB</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="12394">
                <text>Still Image</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
            <elementTextContainer>
              <elementText elementTextId="12395">
                <text>7465</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
    <tagContainer>
      <tag tagId="174">
        <name>advertising</name>
      </tag>
      <tag tagId="1367">
        <name>Clark Rice Photography Collection</name>
      </tag>
      <tag tagId="1369">
        <name>Nitey Nite</name>
      </tag>
      <tag tagId="1368">
        <name>Perry Knitting Co.</name>
      </tag>
      <tag tagId="872">
        <name>Perry, NY</name>
      </tag>
    </tagContainer>
  </item>
</itemContainer>
