43 10 1402 https://openvalley.org/files/original/b606ef7cbec1c5f94049a8f5a1d535f9.jpg 9d7d2e239fbd618b104a24a77b68961c 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 Gideon Archer Homestead, Hilton NY Description An account of the resource Gideon and Mary Archer harbored escaped slaves in their home before transporting them to a location where they were rowed across Lake Ontario to freedom in Canada. Publisher An entity responsible for making the resource available Hilton Municipal Historian Date A point or period of time associated with an event in the lifecycle of the resource 1963-1983? Contributor An entity responsible for making contributions to the resource Druse, Kristen Source A related resource from which the described resource is derived Hilton Municipal Historian Collection, Monroe County Library Format The file format, physical medium, or dimensions of the resource jpeg, 54 KB Type The nature or genre of the resource Photograph https://openvalley.org/files/original/ee0db04089cb8466652a5a17d5602201.jpg 4afbe6b4a47be006f47a44ce2a97d563 https://openvalley.org/files/original/7ec0bc0035838e38a99596c6494e637f.jpg 2b2e0b77ac296c2654408987bb78e2be https://openvalley.org/files/original/13c898a0d23572f4d197480f342db110.jpg c36488ca4389d0e09969fa8219b36c5a 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 Chromolithograph 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 Gift for the Grangers Creator An entity primarily responsible for making the resource J. Hale Powers & Co. Date A point or period of time associated with an event in the lifecycle of the resource 1873 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://en.wikipedia.org/wiki/File:Gift_for_the_grangers_ppmsca02956u.jpg" target="_blank" rel="noopener">Courtesy of Wikipedia</a> Format The file format, physical medium, or dimensions of the resource Small image: jpeg, 1.7 MB Farmer's Fireside (detail): jpeg, 599 KB Harvest Dance (detail: jpeg,) 622 KB Large image: jpeg, 10.4 MB Description An account of the resource The Grange was a trade and social association of farmers whose cohesion was modeled on the fraternity of Masonry, as indicated by this symbol-rich promotional poster. Its genesis came in the immediate aftermath of the Civil War, when Secretary of Agriculture Oliver Kelly was touring devastated farms of the Confederate South. He envisioned it helping to heal sectional wounds, transmit agricultural knowledge, and represent farmers at a time when industrial interests like railroads and brokers were diverting much of their profits. The first Grange Hall was formed in Fredonia, NY in 1868 and by 1878 the organization had more than 850,000 members. Here we see a stern-faced yeoman farmer, whose motto "I Pay for All" suggest the depth of outrage at agriculture's lack of representation in the national economy. Surrounding the central image are a number of vignettes that are distinguished for their focus upon building social cohesion; this item includes cropped portions showing "Farmer's Fireside" and "Harvest Dance" to illustrate that innovation. There are also many symbolic features showing the influence of Masonry: the mythical figures of Flora (flowers), Ceres (grain), and Pomona (fruit) above the farmer; a Grange meeting shown at upper right; and matched columns at bottom whose letters stand for Patrons of Husbandry. The grange movement diminished in size and influence along with the number of farmers, but there remain an estimated 150,000 members at 1,500 chapters nationwide. Type The nature or genre of the resource Still image Farm Life farmers Masonry The Grange https://openvalley.org/files/original/3c25bed932cdfae54786629f1bbbd63b.JPG a085ea719ff2897aab3158398300eb15 https://openvalley.org/files/original/fa341ea6f67266b12da6e7be4f025564.JPG 51db6b43d3aabad013e7b621188b08a8 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 16 x 15.5 in. Condition: good, protected by glass 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/. Description An account of the resource Pale girl sits atop a pony, protected from the sun’s rays as apples fall from a tree nearby. The pony, meanwhile, stares blankly at the ground. Although Meloy’s familiarity with animals shows in his representation of anatomy and posture, the bright sun (and perhaps his interest in abstraction) washes away finer details of the scene; the watercolor becomes a composition in red, yellow, white, and brown, with carefully chosen accents of blue. About the Artist: Born in Townsend, MT, Meloy was raised on the family ranch, where he and his siblings were encouraged to pursue their creative interests as children. His parents arranged for a year of study with the landscape painter <a href="http://www.askart.com/artist/Elmer_L_Boone/65200/Elmer_L_Boone.aspx" target="_blank" rel="noopener">Elmer Boone</a>, and meanwhile Meloy took correspondence courses in commercial art. Visiting friends in Chicago, a trip to that city’s Art Institute so moved him that he decided to enroll there, marking a change in plans and the “divide between a reliable career in commercial art and a more risky career in painting” (citation). Meloy relocated to New York in 1926, studying first with <a href="https://en.wikipedia.org/wiki/Robert_Henri" target="_blank" rel="noopener">Robert Henri</a> at the National Academic of Design and then <a href="http://www.askart.com/artist_bio/John_Wesley_Carroll/2060/John_Wesley_Carroll.aspx" target="_blank" rel="noopener">John Carroll</a> at the Art Students’ League. Meloy was influenced by the Ashcan School’s urban realism, sketching on New York’s busy streets and while riding its subway: “These urban portraits convey Meloy’s interest for the whole of life’s volume and mass. The movement of fast-paced New York is depicted through sweeping caricature into beautiful line figures in motion, changing light, and telling environmental information” (citation). During the late 1920s and early ‘30s Meloy supported himself, in part, through illustrations for western and outdoor magazines. Beginning in 1933 he created works for the WPA, including its Easel Art division. During 1941-42 he painted a mural, <a href="https://postalmuseum.si.edu/indiansatthepostoffice/pdfs/The_Flathead_War_Party.pdf" target="_blank" rel="noopener">Flathead War Party</a>, for the US Post Office in Hamilton, MT that still remains. Beginning in 1940 Meloy taught art at Columbia University, where he became intrigued by the more abstract painting of artists like <a href="https://en.wikipedia.org/wiki/Henri_Matisse" target="_blank" rel="noopener">Henri Matisse</a>, <a href="https://en.wikipedia.org/wiki/Willem_de_Kooning" target="_blank" rel="noopener">Willem de Kooning</a>, and <a href="https://en.wikipedia.org/wiki/Jackson_Pollock" target="_blank" rel="noopener">Jackson Pollock</a>. In a letter concerning his new experiments with color, line, and shape he wrote, “I want to fit in and at the same time I want to be alive and contribute something of myself” (Rodriguez). Meloy died suddenly in 1951, while waiting for a train in Grand Central Station. 2 works at the <a href="https://www.metmuseum.org/art/collection/search#!?q=meloy" target="_blank" rel="noopener">Metropolitan Museum of Art</a>. 2 works at the <a href="https://www.brooklynmuseum.org/opencollection/artists/3509/objects" target="_blank" rel="noopener">Brooklyn Museum</a>. 3 works at the <a href="http://yellowstoneart.pastperfectonline.com/bycreator?keyword=Meloy%2C+Henry" target="_blank" rel="noopener">Yellowstone Art Museum</a>. 18 works at <a href="http://montanamuseum.pastperfectonline.com/bycreator?keyword=Meloy%2C+Henry" target="_blank" rel="noopener">Montana Museum of Art & Culture</a>. 4 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-16-folder-7" target="_blank" rel="noopener">FAP</a>. His papers and approximately 4,000 oil paintings are the <a href="https://www.umt.edu/montanamuseum/permanent/henrymeloy.php" target="_blank" rel="noopener">Montana Museum of Art and Culture</a>. Sources Consulted: Gordon McConnell, “Henry Meloy: Record of a Life,” Henry Meloy: Five Themes, 1945-1951 (Yellowstone Art Center, 1990); Kathryn Lorraine Rodriguez, <a href="https://scholarworks.umt.edu/cgi/viewcontent.cgi?article=2269&context=etd" target="_blank" rel="noopener">Henry Meloy: The Portraits, A Narrative of the Exhibition</a> (MA Thesis at University of Montana, 2008) Title A name given to the resource Girl and Pony Creator An entity primarily responsible for making the resource Meloy, Henry J., 1902-1951 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 #FA18206 Format The file format, physical medium, or dimensions of the resource jpeg, 795 KB jpeg, 6 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 113 Federal Art Project Henry J. Meloy New Deal Gallery painting https://openvalley.org/files/original/61d2531ad463f6dd4c6b601dc7d041f5.jpg f95af596caab6981f8b0896fcfe00960 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 5 x 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/. Title A name given to the resource Girl in Dinosaur Footprints Description An account of the resource At the popular "Brontosaurus Hall" at the American Museum of Natural History, a young girl sits in preserved footprints of a dinosaur. Note: this image has been croppedS Creator An entity primarily responsible for making the resource Unknown Publisher An entity responsible for making the resource available American Museum of Natural History Date A point or period of time associated with an event in the lifecycle of the resource 1961 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://digitalcollections.amnh.org/archive/Camptosaurus-nanus--Brontosaurus-Hall-2URM1T9X0NW1.html" target="_blank" rel="noopener">American Museum of Natural History</a> Format The file format, physical medium, or dimensions of the resource jpeg, 282 KB Type The nature or genre of the resource Still image American Museum of Natural History Dinosaur Natural history https://openvalley.org/files/original/c17684fa324a8c3cc21697a9585d0083.jpg 6c0b38a6e291948d74ed2588d35c5745 https://openvalley.org/files/original/f4024768bfae26467ba381fa2cff9536.jpg ed3ecdd19e740fd30f55f20d74eec59a 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 Color woodcut on paper Physical Dimensions The actual physical size of the original image Image: 11 x 13 3/4 in. Sheet: 15 1/2 x 18 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/. Title A name given to the resource Girl Sewing Format The file format, physical medium, or dimensions of the resource jpeg, 2 MB jpeg, 1.3 MB Description An account of the resource Bernard Schardt’s graphic art "Girl Sewing” displays Schardt’s style the most, showing an African American woman at home sitting alone in her home sewing. Schardt print here is a color wood cut which was a popular choice among artists during this period. Which is why Schardt chose a geometric style especially in the background of the print. Schardt uses bright colors such as orange and blue for her dress, as well as with the couch. However, the floor and furniture use darker colors, to show the mundaneness of the scene unfolding. The subject is casual clothing, nothing that seems to be expensive or extravagant, and she is wearing slippers. Schardt uses the space in the painting, with the subject dominating it. Schardt doesn’t choose an exciting scene nor a happy subject, he stresses the ordinariness of the girl. The girl could be another face in the crowd, and that is what makes her the perfect subject for this specific period. Schardt's focus during this time is to display the ordinary and the unseen, which is why his use of the subject taking up the entirety of the print making the viewer focus on someone they might never have before. 12 images at <a href="https://art.gsa.gov/people/2325/bernard-p-schardt/objects" target="_blank" rel="noopener">GSA</a>.  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 c. 1935 Contributor An entity responsible for making contributions to the resource Lay, Giavanna (description) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1491 Type The nature or genre of the resource Still image Bernard P. Schardt Federal Art Project lithograph New Deal Museum https://openvalley.org/files/original/f1d52f98a921d7c02df5cdcaefb99328.JPG 70afb96da22205834e6a29dc699300e1 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 Oil Painting Physical Dimensions The actual physical size of the original image 24 x 30 in. Condition: tack marks, surface dirt, flaking paint 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 Girl with Tulips Creator An entity primarily responsible for making the resource Wein, Elsie, (b. 1898?) 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) Anderson, Justin (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18365 Format The file format, physical medium, or dimensions of the resource jpeg, 1.3 MB Type The nature or genre of the resource Still Image Description An account of the resource A pale-skinned young woman with blue eyes and brown hair, wearing a blue day dress, lifts a single red tulip stem from a vase of five red tulips. Mirroring the dark brown background, a round, wooden table is the stable platform for the two-handled white vase which holds the tulips. The woman's thoughtful stare evokes a dreamlike sense of nostalgia. About the Artist: We haven't located much reliable information about this artist. Elsie Wein may have immigrated to the United States from Hungary. Some records indicate that during the 1920s she may have lived in Baltimore, MD and showed her paintings there. There also is an intriguing reference to a WBNY radio program, “Art Talk,” with an Elsie Wein as its host during the late 1920s and early ‘30s. In any event, a painter of this name worked for the WPA in at least two programs. 9 more works at the <a href="https://www.nga.gov/global-site-search-page.html?searchterm=elsie+wein" target="_blank" rel="noopener">Index of American Design</a>. 3 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-23-folder-48" target="_blank" rel="noopener">FAP</a>. Identifier An unambiguous reference to the resource within a given context 193 Elsie Wein Federal Art Project flowers New Deal Gallery painting https://openvalley.org/files/original/0f7f986c5df54409a11acd26a57d37ed.png f19af9e3c6a2e58b48fecb41b8fcd330 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 Mills of Genesee Valley Description An account of the resource Before the commercial extraction of fossil fuels from the Oil Creek region of northern Pennsylvania, most mechanical work in the Genesee Valley was done by human and animal power, or some source ultimately derived from the sun: burning wood, wind power, or flowing water. The exception to this, of course, was coal--by the 1880s America's dominant source of energy. Due to the Genesee region's ample supply of wood and running water, along with the cost of shipping coal, it's quite common to find instances of various water mills in the area's history. They were adapted to a wide range of uses: cutting wood into timber and milling it into specialized shapes (lumber mill); grinding corn into animal feed or for distilling alcohol (grist mill); grinding wheat or other grains (flour mill); creating boxes and other products from wood pulp (paper mill); fabricating metals (triphammer mill); powering industrial equipment (textile mill); and by the 1880s creating electricity via turbines. This collection gathers various documents concerning mills in the Genesee Valley. In addition to images and written texts, there is also an interactive map illustrating the density of their usage during the mid-nineteenth century. Hyperlink A link, or reference, to another resource on the Internet. URL <a href="https://arcg.is/1fTHCb0" target="_blank" rel="noopener">https://arcg.is/1fTHCb0</a> 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 GIS Map of Dansville-Area Mills Description An account of the resource <div class="js-view if-description description-rich-text break-word overflow-auto"> <div>This GIS map was created to support the <a href="https://geneseo.maps.arcgis.com/apps/MapJournal/index.html?appid=0233b12694a346109a2a0f46f84a3858" target="_blank" rel="noopener">Dansville Ever-Green map</a>, itself an experiment to recover historical knowledge for the purposes of envisioning a bioregional economy & culture. Its premise is to draw a 50-mile radius around the town of Dansville, NY and make visible under-appreciated resources. In this case, the interest concerns small-scale hydropower used to grind corn and wheat; saw, plane, and turn lumber; process apples into cider; card wool; and so on. A hyperlink to the map can be found below. </div> <div>The map of Dansville-area mills was created by using county-level maps from the 1850s (and, in one case, the 1860s). A list of the Western New York counties follows, with the surveyor, publisher, and year in parentheses: Allegany (Bechler/Gillette 1856); Genesee (Otley & Rea/Gillett 1854); Livingston (French/Gillette 1858); Monroe (Brown/Gillette 1858); Ontario (Beers/Dawson 1859); Steuben (Levy/Gillette 1857); Wyoming (Brown/Brown 1853); Yates (Beers/Stone & Stewart 1865). It is comprised of more than 600 individual mill sites. </div> <div>Mills were identified using map abbreviations of the time, which differentiated among saw mills (“S.M.”), grist mills (“G.M.”), along with spelled-out designations for less common operations. This map does not include steam-saw mills (“S.S.M.”), which used water from creeks to power wood-burning engines—that is, they were not hydropowered mills. The limitations of this procedure are many. Locations sometimes are approximate, due to discrepancies between 19th-century and contemporary maps concerning watercourses. The names of the mills and/or owners sometimes are identified on maps or can be inferred, but usually are not (a question mark indicates a plausible guess). And there are doubtless many milling operations that never made it onto these maps from the 1850s. </div> <div>From a contemporary standpoint an important caveat is that milling operations are not inevitably sustainable, and that many (or most) of the 19th-century mills created water pollution and disrupted stream communities. A sawmill meant that nearby forests were being logged, usually in an unsustainable manner. Still, it is hoped that this information will be of historical interest and, more importantly, to suggest that resources exist for a post-carbon economy in Western New York.</div> </div> Creator An entity primarily responsible for making the resource Cooper, Ken Argentieri, Elizabeth Publisher An entity responsible for making the resource available OpenValley.org Date A point or period of time associated with an event in the lifecycle of the resource 2015 Contributor An entity responsible for making contributions to the resource Cooper, Ken Type The nature or genre of the resource Hyperlink Item Format The file format, physical medium, or dimensions of the resource Online GIS Map Dansville, NY industrialization Map Mill https://openvalley.org/files/original/33e909e45b367c50c1bf6307da602eb5.jpg 1d85511103c531c299b3e19d6a9091ad https://openvalley.org/files/original/0a8bdaabaf8183552f9d194a524e719d.jpg 4749772f22cd83867ced1642c86232b6 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 Oil on canvas painting Physical Dimensions The actual physical size of the original image Canvas: 23 1/2 × 19 1/2 in. Frame: 31 1/4 × 27 1/4 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/. Title A name given to the resource Gladioli Description An account of the resource Witten’s still-life painting depicts a vase of gladioli flowers with a framed nude portrait set next to and slightly behind the vase. The exact year of production is unknown, like much of Witten’s personal history. The flowers are bright red and gold, a sharp contrast to the deep blue-green vase and light green wall. The nude portrait shows a woman on her knees looking downward, apparently posing next to the edge of a bed. Her body language is soft, inviting comparison to the flowers.  Our immediate focal point is the flower vase, particularly its bright red flowers: most of them seemingly lean towards the portrait, creating a line of attention across the piece. By utilizing a contrast of hues and saturations, Witten also invites juxtaposition of the portrait and its surroundings. The pale figure, posed against a deep blue background and cool-hued colors, contrasts the warm-hued colors of its framing room. This shifts the initial focal point towards the picture frame and away from the flowers. Witten’s technique gives the painting a soft, romantic feeling. The visual brushstrokes and soft linework make the work feel familiar but not distinct, as though Witten were portraying a memory. About the Artist Mabel Alice Mary Azure was born in London, her exact birth year unknown, to an English father and Spanish mother. After the early passing of her parents, Witten attended an all-girls private school in Hampshire, England, thanks to family wealth.  During this time, she met her husband, George Walter Bond Witten, whom she married in 1912. George Witten was not only a writer, but also an army Major. The newlywed couple moved to New York, staying for a short time before relocating to Florida, where they remained the rest of their lives. She got the nickname “Bunty” from her husband and used it as a professional name throughout her career.  Witten spent a great deal of time on education. She attended 8 years of school in the U.S., some of them spent at the Metropolitan Art School of New York, one year in a school in England and another in Paris. She is mostly known as a painter, but also sketched, illustrated and created cartoons and personal portraits. Her illustrations appeared in books such as <a href="https://babel.hathitrust.org/cgi/pt?id=nyp.33333023737766&seq=7">A Merry Menagerie</a> (1924), <a href="https://archive.org/details/sim_parents_1928-02_3_2/mode/1up">Children: The Magazine for Parents</a> (1928) and <a href="https://openvalley.org/items/show/1332">Rip Darcy, Adventurer</a> (1938). In Florida, she helped run the Pen and Brush Club, later renamed The Galleon: A Pen and Pencil Club. She was a chair of the club and used her interior design skills to make the club space a gorgeous spot for artists and creators to create a better world for art and literature. Witten passed in 1968, an obituary determining her age to be 74, although her original birth year is unknown. Works Consulted: Paul Guzzo, “Crabby Bill’s CEO honors family’s benefactor” (Stuart News 29 Aug. 2021: 26A); Lillian Blackstone, “Artist and Husband Forget Their Proposed Trip to Guatemala As Soon as They Reach Here" (Tampa Bay Times 30 April 1939: 14); “Obituaries.” (Tampa Bay Times 18 Nov. 1968: 17); “Pen and Brush Club is Now Organized in St. Augustine" (St. Augustine Record 19 Jan. 1924: 1); “‘The Galleon’ New Name for Writers’ and Artists’ Club” (St. Augustine Record 23 Jan. 1924: 1). Creator An entity primarily responsible for making the resource Witten, Bunty (1895? - 1968) Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource c.1935 Contributor An entity responsible for making contributions to the resource Pasiak, Olivia (description and biography) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 826 Format The file format, physical medium, or dimensions of the resource jpeg, 2 MB jpeg, 1.2 MB Type The nature or genre of the resource Still image Bunty Witten Federal Art Project New Deal Museum painting still life https://openvalley.org/files/original/db779c972422d12409d4395258932290.jpg 5d8cf21bead7a0a6e2b399f0a0f1335e 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 10x8 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 Glass Plate Print of Walnut Street Bridge Description An account of the resource According to the Rice Collection annotation, this is a "Print made from an original glass plate, looking northeast on Water Street at the Walnut Street." We are able to see several people crossing an iron bridge that was constructed in 1902, perhaps going to work at the Perry Knitting Co. factory. The building shown in the image is unknown. The Perry Knitting Mill is located in the upper left of the image as well. 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 1900-1910 Contributor An entity responsible for making contributions to the resource Ferraro, Michaelena Source A related resource from which the described resource is derived Clark Rice Photography Collection Format The file format, physical medium, or dimensions of the resource Jpeg, 644 KB Identifier An unambiguous reference to the resource within a given context 1272 Type The nature or genre of the resource Still image Clark Rice Photograph Collection Glass Print Perry Knitting Co. Perry, NY, Walnut Street Bridge https://openvalley.org/files/original/34e3d4e4c136dafbe32ae790409c2d24.jpg 3d2631a599e877a542be06e1a5fa76f9 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 Digital 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 Glen Avon Mill, as it appears today Description An account of the resource Since the 1960s, the former Light Bros. then Glen Avon Mills has been a family residence Creator An entity primarily responsible for making the resource Freeman, Kyle Date A point or period of time associated with an event in the lifecycle of the resource 2014-12-10 Format The file format, physical medium, or dimensions of the resource jpeg, 54 KB Contributor An entity responsible for making contributions to the resource Freeman, Kyle Type The nature or genre of the resource Digital photograph Conesus Creek Glen Avon Mills Littleville, NY mills