35 10 1402 https://openvalley.org/files/original/dd8282dac2411a92b40b8fb2aa94b99d.jpg 205e6353ff6f7cc400bc7dcef073c719 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 Watercolor Physical Dimensions The actual physical size of the original image 14.5 x 21 in. Condition: surface dirt, colors faded 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 Pink Cloister Creator An entity primarily responsible for making the resource Gaige, Richard T[homas], 1907-1992 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 1937-08-24 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 #FA18159 Format The file format, physical medium, or dimensions of the resource jpeg, 680 KB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 069 Description An account of the resource With the exception of this watercolor's foreground, much of Gaige's composition relies on evocative applications of color hovering above negative space (particularly at upper right). Exotic greenery is set against a carefully penciled arch, while a line of red bricks crosses through the foliage as an undercurrent. About the Artist: Born in Candor, NY, Gaige grew up in Binghamton and graduated from the School of Art at Syracuse University. He then moved to New York City where he worked as a painter, a freelance designer, and a teacher at the Parsons School of Design. His own innovations for a line of women’s compacts, cigarette cases, and coin cases for Volupté was recognized at the Museum of Modern Art’s exhibition <a href="https://www.moma.org/documents/moma_catalogue_2789_300190548.pdf" target="_blank" rel="noopener">“Useful Objects of American Design Under Ten Dollars”</a> (1940). Along with his design work during the 1930s, Gaige was employed by the Federal Art Project. In 1942 he enlisted in the Army, serving first as a structural draftsman at Fort Dix, NJ, where he was featured in a humorous article on subject of slang between soldiers and their sweethearts:“This sugar report is coming straight from second heaven. You should cop a gander at the taxpayers straggling in. This new bunch of handcuffed volunteers has everything including short pants, battle wagons, moss backs, cruisers, modern guineas and a Hollywood private to snow ‘em under” (Cross). Gaige later became a writer-artist for Yank newspaper, traveling to the Middle East. The probable cause for this shift in direction was the positive reaction to his cartoons about military life, eventually collected into a book entitled Me and the Army. One critic wrote that “Every right page is filled with rough and ready sketches, full of life and keen observation, of all that goes on during the early days of training. Gaige may not be a great artist, but is a great observer of human activity from the mass nudity of medical inspection to the calm dignity of church service. The book is really a letter from a soldier to the folks at home—any soldier to any parents” (Dungen). After the war Gaige lived first in Pennsylvania and then in Miami. 11 images at <a href="https://openvalley.org/items/show/983" target="_blank" rel="noopener">OpenValley</a>. 4 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-8-folder-12" target="_blank" rel="noopener">FAP</a>. Sources consulted: Christopher Cross, “How to Write to Him in His Own Language” (Albuquerque Journal 18 Oct 1942: 15. H.L. Dungen, “Witty Discourse on Army Life,” Oakland Tribune 20 June 1943: 19. Donald G. Taggart, History of the Third Infantry Division In World War II (Infantry Journal Press, 1947). Federal Art Project New Deal Gallery painting Richard T. Gaige https://openvalley.org/files/original/2200f39e27a45f6029b45d5c3fce33bf.JPG 1cf3141cabd234de6f8c8c23ff531223 https://openvalley.org/files/original/e9f4ae25ce544f82719e57f090972a85.JPG 91d1d057a576760335cc5c6b6314b921 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 Watercolor painting Physical Dimensions The actual physical size of the original image 18 x 27 in. Condition: surface dirt, colors faded 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 Willow Trees Format The file format, physical medium, or dimensions of the resource jpeg, 787 KB jpeg, 9.9 MB Description An account of the resource Gaige uses just enough visual cues to suggest some depth to his landscape, but its main interest appears to be the play of willow trunks and branches against grass and foliage. The latter, rendered in a limited pallette of colors, nevertheless plays out in many permutations and textures. About the Artist: Born in Candor, NY, Gaige grew up in Binghamton and graduated from the School of Art at Syracuse University. He then moved to New York City where he worked as a painter, a freelance designer, and a teacher at the Parsons School of Design. His own innovations for a line of women’s compacts, cigarette cases, and coin cases for Volupté was recognized at the Museum of Modern Art’s exhibition <a href="https://www.moma.org/documents/moma_catalogue_2789_300190548.pdf" target="_blank" rel="noopener">“Useful Objects of American Design Under Ten Dollars”</a> (1940). Along with his design work during the 1930s, Gaige was employed by the Federal Art Project. In 1942 he enlisted in the Army, serving first as a structural draftsman at Fort Dix, NJ, where he was featured in a humorous article on subject of slang between soldiers and their sweethearts:“This sugar report is coming straight from second heaven. You should cop a gander at the taxpayers straggling in. This new bunch of handcuffed volunteers has everything including short pants, battle wagons, moss backs, cruisers, modern guineas and a Hollywood private to snow ‘em under” (Cross). Gaige later became a writer-artist for Yank newspaper, traveling to the Middle East. The probable cause for this shift in direction was the positive reaction to his cartoons about military life, eventually collected into a book entitled Me and the Army. One critic wrote that “Every right page is filled with rough and ready sketches, full of life and keen observation, of all that goes on during the early days of training. Gaige may not be a great artist, but is a great observer of human activity from the mass nudity of medical inspection to the calm dignity of church service. The book is really a letter from a soldier to the folks at home—any soldier to any parents” (Dungen). After the war Gaige lived first in Pennsylvania and then in Miami. 11 images at <a href="https://openvalley.org/items/show/983" target="_blank" rel="noopener">OpenValley</a>. 4 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-8-folder-12" target="_blank" rel="noopener">FAP</a>. Sources Consulted: Christopher Cross, “How to Write to Him in His Own Language” (Albuquerque Journal 18 Oct 1942: 15. H.L. Dungen, “Witty Discourse on Army Life,” Oakland Tribune 20 June 1943: 19. Creator An entity primarily responsible for making the resource Gaige, Richard T[homas], 1907-1992 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 #FA18160 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 070 Federal Art Project New Deal Gallery Richard T. Gaige Watercolor https://openvalley.org/files/original/dbb24927b411fe65d87ec16e41c66012.jpg 0ee6e320d39813d523997a521d99e3ad 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 of watercolor painting 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 Queensboro Bridge Creator An entity primarily responsible for making the resource Gaige, Richard T[homas], 1907-1992 Description An account of the resource Watercolor by New Deal Gallery artist of bridge crossing the East River near Sutton Place. About the Artist: Born in Candor, NY, Gaige grew up in Binghamton and graduated from the School of Art at Syracuse University. He then moved to New York City where he worked as a painter, a freelance designer, and a teacher at the Parsons School of Design. His own innovations for a line of women’s compacts, cigarette cases, and coin cases for Volupté was recognized at the Museum of Modern Art’s exhibition <a href="https://www.moma.org/documents/moma_catalogue_2789_300190548.pdf" target="_blank" rel="noopener">“Useful Objects of American Design Under Ten Dollars”</a> (1940). Along with his design work during the 1930s, Gaige was employed by the Federal Art Project. In 1942 he enlisted in the Army, serving first as a structural draftsman at Fort Dix, NJ, where he was featured in a humorous article on subject of slang between soldiers and their sweethearts:“This sugar report is coming straight from second heaven. You should cop a gander at the taxpayers straggling in. This new bunch of handcuffed volunteers has everything including short pants, battle wagons, moss backs, cruisers, modern guineas and a Hollywood private to snow ‘em under” (Cross). Gaige later became a writer-artist for Yank newspaper, traveling to the Middle East. The probable cause for this shift in direction was the positive reaction to his cartoons about military life, eventually collected into a book entitled Me and the Army. One critic wrote that “Every right page is filled with rough and ready sketches, full of life and keen observation, of all that goes on during the early days of training. Gaige may not be a great artist, but is a great observer of human activity from the mass nudity of medical inspection to the calm dignity of church service. The book is really a letter from a soldier to the folks at home—any soldier to any parents” (Dungen). After the war Gaige lived first in Pennsylvania and then in Miami. 11 images at <a href="https://openvalley.org/items/show/983" target="_blank" rel="noopener">OpenValley</a>. 4 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-8-folder-12" target="_blank" rel="noopener">FAP</a>. Sources Consulted: Christopher Cross, “How to Write to Him in His Own Language” (Albuquerque Journal 18 Oct 1942: 15. H.L. Dungen, “Witty Discourse on Army Life,” Oakland Tribune 20 June 1943: 19. 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 1937-1938 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://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-8-folder-12" target="_blank" rel="noopener">Archives of American Art, Federal Art Project, Photographic Division, Box 8, Folder 12.</a> Format The file format, physical medium, or dimensions of the resource jpeg, 219 KB Type The nature or genre of the resource Still image Federal Art Project New Deal Gallery Queensboro Bridge Richard T. Gaige Watercolor https://openvalley.org/files/original/1e08cda0c934ba74688ce0820208b801.jpg e8bdf830fe075f26cb6cf4335a5864c9 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 of watercolor painting 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 Lexington & 35th St. Description An account of the resource Gaige's title is slightly puzzling, for this seems to be the Episcopal Church of the Incarnation on Madison & 35th. The congregation built a sanctuary at this location 1865; the current structure dates to 1896. About the Artist: Born in Candor, NY, Gaige grew up in Binghamton and graduated from the School of Art at Syracuse University. He then moved to New York City where he worked as a painter, a freelance designer, and a teacher at the Parsons School of Design. His own innovations for a line of women’s compacts, cigarette cases, and coin cases for Volupté was recognized at the Museum of Modern Art’s exhibition <a href="https://www.moma.org/documents/moma_catalogue_2789_300190548.pdf" target="_blank" rel="noopener">“Useful Objects of American Design Under Ten Dollars”</a> (1940). Along with his design work during the 1930s, Gaige was employed by the Federal Art Project. In 1942 he enlisted in the Army, serving first as a structural draftsman at Fort Dix, NJ, where he was featured in a humorous article on subject of slang between soldiers and their sweethearts:“This sugar report is coming straight from second heaven. You should cop a gander at the taxpayers straggling in. This new bunch of handcuffed volunteers has everything including short pants, battle wagons, moss backs, cruisers, modern guineas and a Hollywood private to snow ‘em under” (Cross). Gaige later became a writer-artist for Yank newspaper, traveling to the Middle East. The probable cause for this shift in direction was the positive reaction to his cartoons about military life, eventually collected into a book entitled Me and the Army. One critic wrote that “Every right page is filled with rough and ready sketches, full of life and keen observation, of all that goes on during the early days of training. Gaige may not be a great artist, but is a great observer of human activity from the mass nudity of medical inspection to the calm dignity of church service. The book is really a letter from a soldier to the folks at home—any soldier to any parents” (Dungen). After the war Gaige lived first in Pennsylvania and then in Miami. 11 images at <a href="https://openvalley.org/items/show/983" target="_blank" rel="noopener">OpenValley</a>. 4 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-8-folder-12" target="_blank" rel="noopener">FAP</a>. Sources Consulted: Christopher Cross, “How to Write to Him in His Own Language” (Albuquerque Journal 18 Oct 1942: 15. H.L. Dungen, “Witty Discourse on Army Life,” Oakland Tribune 20 June 1943: 19. Creator An entity primarily responsible for making the resource Gaige, Richard T[homas], 1907-1992 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 1937 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://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-8-folder-12" target="_blank" rel="noopener">Archives of American Art, Federal Art Project, Photographic Division, Box 8, Folder 12.</a> Format The file format, physical medium, or dimensions of the resource jpeg, 172 KB Type The nature or genre of the resource Still image Federal Art Project New Deal Gallery New York Richard T. Gaige Watercolor https://openvalley.org/files/original/b9b4b7560db3730f6ea351d98bf4c9f8.jpg c3371477e1e5428158d67d880b789b3a 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 of watercolor painting 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 Boat House, Sutton Place Format The file format, physical medium, or dimensions of the resource jpeg, 259 KB Description An account of the resource At the time of this painting Sutton Place, on the East River near the Queensboro Bridge, had the reputation of extreme inequality: the wealthy enjoying river views, the poor living in squalid conditions. This "boat house" has the appearance of someone's residence. About the Artist: Born in Candor, NY, Gaige grew up in Binghamton and graduated from the School of Art at Syracuse University. He then moved to New York City where he worked as a painter, a freelance designer, and a teacher at the Parsons School of Design. His own innovations for a line of women’s compacts, cigarette cases, and coin cases for Volupté was recognized at the Museum of Modern Art’s exhibition “Useful Objects of American Design Under Ten Dollars” (1940). Along with his design work during the 1930s, Gaige was employed by the Federal Art Project. In 1942 he enlisted in the Army, serving first as a structural draftsman at Fort Dix, NJ, where he was featured in a humorous article on subject of slang between soldiers and their sweethearts:“This sugar report is coming straight from second heaven. You should cop a gander at the taxpayers straggling in. This new bunch of handcuffed volunteers has everything including short pants, battle wagons, moss backs, cruisers, modern guineas and a Hollywood private to snow ‘em under” (Cross). Gaige later became a writer-artist for Yank newspaper, traveling to the Middle East. The probable cause for this shift in direction was the positive reaction to his cartoons about military life, eventually collected into a book entitled Me and the Army. One critic wrote that “Every right page is filled with rough and ready sketches, full of life and keen observation, of all that goes on during the early days of training. Gaige may not be a great artist, but is a great observer of human activity from the mass nudity of medical inspection to the calm dignity of church service. The book is really a letter from a soldier to the folks at home—any soldier to any parents” (Dungen). After the war Gaige lived first in Pennsylvania and then in Miami. 11 images at OpenValley. 4 more images at FAP. Sources Consulted: Christopher Cross, “How to Write to Him in His Own Language” (Albuquerque Journal 18 Oct 1942: 15. H.L. Dungen, “Witty Discourse on Army Life,” Oakland Tribune 20 June 1943: 19. Creator An entity primarily responsible for making the resource Gaige, Richard T[homas], 1907-1992 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 Cooper, Ken Source A related resource from which the described resource is derived <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-8-folder-12" target="_blank" rel="noopener">Archives of American Art, Federal Art Project, Photographic Division, Box 8, Folder 12.</a> Type The nature or genre of the resource Still image East River, NY Federal Art Project New Deal Gallery New York, NY Richard T. Gaige Watercolor https://openvalley.org/files/original/f33c8d18ca01cb5999cded05701091d7.jpeg ce2ebc38710a06b1d04dff8322ff441d 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 Map 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 Salt Producing Regions, 1880 Description An account of the resource Even prior to opening of the Retsof Mine in 1880--which would become America's largest--the state of New York trailed only Michigan in production Creator An entity primarily responsible for making the resource Gannett, Henry (1846-1914) Hewes, Fletcher W. (1838-1910) Publisher An entity responsible for making the resource available Charles Scribner's Sons Date A point or period of time associated with an event in the lifecycle of the resource 1883 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived "Scribner's Statistical Atlas of the United States, Showing by Graphic Methods Their Present Condition and Their Political, Social and Industrial Development" Library of Congress digital ID: http://hdl.loc.gov/loc.gmd/g3701gm.gct00009 Format The file format, physical medium, or dimensions of the resource jpeg, 1.4 MB Type The nature or genre of the resource Map Retsof Mine Salt Mines Underground Atlas https://openvalley.org/files/original/7c93e93ceae7489c28e264a8ae79a478.jpg 253010863891810061d909064647640f 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 Lithographed Map Physical Dimensions The actual physical size of the original image 33 x 22 cm 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 US Cotton Production, 1900 Description An account of the resource Map illustrates US Census data as to cotton production per square mile. As of this time, the "Cotton Kingdom" of Frederick Law Olmstead's 1861 book still is similar in its geographical extent. In the decades ahead production would shift westward to Texas. Creator An entity primarily responsible for making the resource Gannett, Henry, 1846-1914 Publisher An entity responsible for making the resource available US Census Office Date A point or period of time associated with an event in the lifecycle of the resource 1903 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://www.davidrumsey.com/luna/servlet/detail/RUMSEY~8~1~32218~1151560:165--Cotton-sq--mile-?sort=Pub_List_No_InitialSort%2CPub_Date%2CPub_List_No%2CSeries_No&qvq=w4s:/when%2F1903;q:cotton;sort:Pub_List_No_InitialSort%2CPub_Date%2CPub_List_No%2CSeries_No;lc:RUMSEY~8~1&mi=2&trs=11#" target="_blank" rel="noopener">David Rumsey Historical Map Collection</a> Format The file format, physical medium, or dimensions of the resource jpeg, 1.8 MB Type The nature or genre of the resource Still image Cotton Map Perry Knitting Co. https://openvalley.org/files/original/96aa5c5151863d457ebdae4fd507f450.jpg ea388d76f13c2345a54fbde9dadec851 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 Letterhead 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 Gas Engine and Power Co. letterhead Creator An entity primarily responsible for making the resource Gas Engine and Power Co. Date A point or period of time associated with an event in the lifecycle of the resource 1889-11-01 Contributor An entity responsible for making contributions to the resource Smith, Haley Source A related resource from which the described resource is derived Wadsworth Family Papers, Milne Library Box L-28-2 Format The file format, physical medium, or dimensions of the resource jpeg, 731 KB Type The nature or genre of the resource Letterhead Gas letterhead naphtha oil https://openvalley.org/files/original/ffeed4ba213a639d364b8edd7c6c6b07.png a0198ebe2340e1afb06464a915058e17 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 Seal of the Presbyterian Church in the USA Creator An entity primarily responsible for making the resource General Assembly, Presbyterian Church USA Date A point or period of time associated with an event in the lifecycle of the resource 1892 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Wikimedia https://openvalley.org/files/original/91e12e9c04c7d1a2b489d940e9f21f76.jpg 205b28ed6cb3201caff5998e5f753f55 https://openvalley.org/files/original/d4a45b7bbed0fe3cf8c939f5774dc5cf.jpg 50c11fc90cfd6034b9d49053d4e7d9b9 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 8 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 Photographs from Futurama Description An account of the resource Two images show "the world of tomorrow" at General Motors' famous exhibit for the 1939 World's Fair in New York City. Gleaming skyscrapers evoke the recently constructed Chrysler and Empire State Buildings. Its multi-laned highways, however, still were a proposed vision whose fruition came after World War II. These images appear in OpenValley in connection with the <a href="https://cdn.knightlab.com/libs/timeline3/latest/embed/index.html?source=1oYnni2nGfehzRnF55P-XlaNXrIeBxgLdKI34Sfo85g4&font=Default&lang=en&initial_zoom=2&height=650" target="_blank" rel="noopener">"Displacements"</a> timeline created for the New Deal Gallery. Creator An entity primarily responsible for making the resource General Motors Publisher An entity responsible for making the resource available Building Technology Heritage Library Internet Archive Date A point or period of time associated with an event in the lifecycle of the resource 1940 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://archive.org/details/GeneralMotorsCCA114885" target="_blank" rel="noopener">Internet Archive</a> Format The file format, physical medium, or dimensions of the resource jpeg, 1.1 MB jpeg, 1.1 MB Type The nature or genre of the resource Still image 1939 World's Fair Automobiles Futurama General Motors Highways