43 10 1402 https://openvalley.org/files/original/9b9975a8ee8ebc1cc8815e1f92b67f05.jpg aff93cb32be3a6ba5ae184e860ff9335 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 Engraving Physical Dimensions The actual physical size of the original image 4 x 6 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 Salt Manufacture at Syracuse Date A point or period of time associated with an event in the lifecycle of the resource 1860 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived J.H. French, Gazetteer of the State of New York (Ira J. Friedman, 1860): 480. Courtesy of Internet Archive Format The file format, physical medium, or dimensions of the resource jpeg, 852 KB Description An account of the resource This engraving shows four views of the Onondaga Salt Company, located in Syracuse, NY. Due to <a href="https://en.wikipedia.org/wiki/Salt_industry_in_Syracuse,_New_York">an unusual geologic formation</a>, salt springs located near the south end of Onandaga Lake had been an object of interest from the beginning of European cultural contact--so much so, that the Treaty of Fort Stanwix in 1784 had forced cession of these lands as the Onondaga Salt Springs Reservation. Salt was a necessity in food preservation, and construction of the Erie Canal in 1825 meant that evaporated salt could be transported inexpensively. As of 1860, when this engraving was published, the scale of production had grown dramatically. We see the older "salt block" method, whereby wood- or coal-fired boilers heated banks of iron kettles 24 hours per day; and we see the newer "solar" evaporation vats. At this time three major salt operations in the Syracuse area were producing more than seven million bushels of salt every year, leading to the drilling of wells or (as is shown here) the pumping lake water into evaporation tanks. Salt operations at Syracuse declined after the Civil War with competition from western sources and rail transportation. The Onondaga salt formation had a toxic second life, however, with its mining for use in the Solvay manufacturing process of sodium carbonate--"soda ash" used in a variety of manufacturing processes. Waste products from the Solvay Process Company and later Allied Chemical, millions of tons every year, were deposited as "waste beds" in marshes alongside Onondaga Lake. Despite partial remediation they remain a toxic legacy. Publisher An entity responsible for making the resource available Ira J. Friedman Type The nature or genre of the resource Still image Onondaga Lake Salt Mines Syracuse, NY Watersheds https://openvalley.org/files/original/8f2649f799e1765c9834c91634321ea6.jpg 707019bb47425931aae2d917c28f4807 Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. 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 Gertrude Karlan Jewelry Description An account of the resource Born in New York, from a young age Karlan’s artistic endeavors cut across different forms: music, painting, jewelry. At left, we see two brooches and a necklace displayed at a 1946 Museum of Modern Art show on "Modern Handmade Jewelry." Karlan's pieces are displayed at left, next to several by Madeleine Burrage. One of her paintings is held by the New Deal Gallery, Mt. Morris, NY. Creator An entity primarily responsible for making the resource Karlan, Gertrude Publisher An entity responsible for making the resource available Museum of Modern Art Date A point or period of time associated with an event in the lifecycle of the resource 1946 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Museum of Modern Art, <a href="https://www.moma.org/calendar/exhibitions/3195?installation_image_index=3">"Modern Handmade Jewelry"</a> installation images. Photograph by Soichi Sunami. Format The file format, physical medium, or dimensions of the resource jpeg, 84 KB Type The nature or genre of the resource Still image Gertrude Karlan Museum of Modern Art New Deal Gallery https://openvalley.org/files/original/4d9404eac4fdbfd0bc37f58f54d3399c.jpg e676a340a2ae61268c43b6ec54e22799 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. 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 Postcard Physical Dimensions The actual physical size of the original image 3.5 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 Light's Mill, Avon NY Creator An entity primarily responsible for making the resource Anderson Date A point or period of time associated with an event in the lifecycle of the resource Unknown Contributor An entity responsible for making contributions to the resource Cooper, Ken Format The file format, physical medium, or dimensions of the resource jpeg, 930 KB Type The nature or genre of the resource Still image Description An account of the resource Real-photo postcard shows a mill site alongside Conesus Creek where Emme Light rebuilt after a fire had destroyed an earlier one named "Glen Avon." He retained that name, and became well known for his trademarked varieties of flour: Peerless, Sweet Violet, Daisy, and White Rose. Sometime the operation was called "Light's Mill," as on this image. Ownership of the mill passed to sons John and William, then to his granddaughter Lucy (Light) McDonald who in 1949 leased it to a Dutch miller named George A. Bass. In 1951, the town of Avon purchased the mill for its more valuable Conesus Lake water rights, then sold the property back to Bass. Glen Avon ceased operations sometime around the late 1950s. The structure remains standing today as a private home. Avon, NY Conesus Creek Glen Avon Mills Light's Mill Littleville, NY Mill Postcards https://openvalley.org/files/original/6f8dbb5411c47bee773b11048b0f3c9c.jpg 880db055b7d1c8161f9a72d30dd545d9 https://openvalley.org/files/original/3eb00123cc8441e5859dd027ae731d9d.jpg 593633f098259a0d83033f03c73ba2a9 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 40 x 95.5 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 Niagara Falls Creator An entity primarily responsible for making the resource Church, Frederic Edwin (1826-1900) 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.nga.gov/collection/art-object-page.166436.html">Corcoran Collection, National Gallery of Art</a> Via Wikimedia Format The file format, physical medium, or dimensions of the resource jpeg, 632 KB jpeg, 4.6 MB Type The nature or genre of the resource Oil painting Date A point or period of time associated with an event in the lifecycle of the resource 1857 Description An account of the resource One of the most famous American paintings of the 19th century, Church prepared for his work via numerous studies and the innovative decision to adapt his aspect ratio to the Falls' width--probably borrowed from murals and panoramic paintings. The result was wildly popular with critics and audiences. "Niagara Falls" attracted some 100,000 visitors during its debut show in New York, each paying 25 cents and often bringing binoculars to admire its minute detail. It traveled to major cities in the eastern US, then to England and eventually the 1867 Exposition Universelle in Paris. Frederic Edwin Church Niagara Falls, NY Niagara River painting Watersheds https://openvalley.org/files/original/ea638f36ce4cd2da587298260aa08612.jpg f10e16d010759f5e163b9de02ddae562 https://openvalley.org/files/original/c48edd28d4cae4c36ab33608c86b30b5.JPG 8cfef5c24df1400cf0827f361f866792 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 Lithograph print Physical Dimensions The actual physical size of the original image 7 x 9 in. Condition: needs treatment; paper yellowed 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 A faceless laborer lifts what appears to be bales of cotton--presumably one of many for New York's textile and garment industries. The etching's dark, cross-hatched interior contrasts with a view of docks, tugboat, and buildings seen through the doorwary. The anonymous toil depicted here would have been paralleled by sharecroppers in the South, although a market crash there preciptated a "great migration" north. About the Artist: Born in Beijing, China, Grambs was the granddaughter of a Baptist missionary and daughter of what she later termed an “exploitive businessman”; she grew up in Tian-Jing but felt isolated because Europeans didn’t interact with the Chinese. In 1934, she received an Art Students League scholarship that enabled her to emigrate to New York. She was greatly influenced by <a href="https://en.wikipedia.org/wiki/Harry_Sternberg" target="_blank" rel="noopener">Harry Sternberg’s</a> printmaking class—how the medium enabled direct confrontation with social injustices—and was active in several Popular Front organizations. As James Wechsler writes, Grambs’ work in printmaking coincided with government support for progressive artists: “Through the FAP, art became an integral part of the New Deal’s objective of treating the intangible symptoms of a demoralized nation...giving visual from to what President Roosevelt called the ‘nameless, unreasoning, unjustified terror which paralyzes needed efforts to convert retreat into advance’” (383-384). Her NDG print “Warehouse, East River” appeared in a 1936 WPA show at the Brooklyn Academy of Music, one of 25 lithographs that she produced for the federal program. Grambs was deeply involved with the Artists’ Union and its efforts to preserve public funding for the arts amidst conservative reaction. In 1936, her former teacher Sternberg arranged for a group of artists to visit the minefields of Pennsylvania; many of her most powerful prints date to this period, showing the intersectionality of labor and ecological exploitation. She relocated to Europe briefly in 1939 but returned via a harrowing journey as borders closed. Grambs never worked in printmaking again, making her living initially as an illustrator for Woman’s Day magazine and eventually for more than 30 children’s books (sometimes under the name Grambs Miller). Many of these books evoked an affirmative vision of nature (a far cry from the Pennsylvania coal fields) that was perhaps influenced by Rachel Carson and an emergent environmental movment: <a href="https://archive.org/details/hummingbirdsinga00gans?q=%22grambs+miller%22" target="_blank" rel="noopener">Hummingbirds in the Garden</a> (1969) <a href="https://archive.org/details/mushroomsmolds00from?q=%22grambs+miller%22" target="_blank" rel="noopener">Mushrooms and Molds</a> (1972); <a href="https://archive.org/details/younggrizzly00corc?q=%22grambs+miller%22" target="_blank" rel="noopener">The Young Grizzly</a>; <a href="https://archive.org/details/plantfun00anit?q=%22grambs+miller%22" target="_blank" rel="noopener">Plant Fun</a> (1974); and <a href="https://archive.org/details/rootsarefoodfind00bran?q=%22grambs+miller%22" target="_blank" rel="noopener">Roots are Food Finders</a> (1975). 15 works at <a href="https://www.nga.gov/collection/artist-info.25832.html" target="_blank" rel="noopener">National Gallery of Art.</a> 8 works at <a href="https://americanart.si.edu/artist/blanche-grambs-1899" target="_blank" rel="noopener">Smithsonian American Art Museum.</a> 16 works at <a href="https://www.metmuseum.org/search-results#!/search?q=grambs" target="_blank" rel="noopener">Metropolitan Museum of Art.</a> 9 works at the <a href="https://www.newarkmuseum.org/search-our-collection" target="_blank" rel="noopener">Newark Museum</a>. 4 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-9-folder-20" target="_blank" rel="noopener">FAP</a>. Sources consulted: James Wechsler, “The Great Depression and the Prints of Blanche Grambs,” Print Quarterly 13.4 (Dec. 1996): 376-396. Title A name given to the resource Warehouse, East River Creator An entity primarily responsible for making the resource Grambs, Blanche Mary, 1916-2010 Date A point or period of time associated with an event in the lifecycle of the resource 1937-07-15 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photograph) Cooper, Ken (biography) Publisher An entity responsible for making the resource available Federal Art Project Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18166 Format The file format, physical medium, or dimensions of the resource jpeg, 910 KB jpeg, 11.8 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 076 Blanche Mary Grambs Engraving Federal Art Project New Deal Gallery https://openvalley.org/files/original/db49b83eb42996ccaa7bf309e2f30357.jpg 93d918d5da5aadc8008f68d27319f3e4 https://openvalley.org/files/original/2840458f7ae43cb6f59cf56d36fce217.JPG a40283bdceebf373c315d81ef5354111 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 Gouache painting Physical Dimensions The actual physical size of the original image 9 x 12.5 in. Condition: surface dirt Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource A table, whose covering appears to have been folded back, becomes the space for an arrangement of flowers in a vase and a beaded necklace in a ceramic dish. Cool blues, grays, and burgundys predominate. The flat picture plane, absence of background space, and diagonal (even tilted) lines combine create an unstable space--the Blue Beads seem to be spilling out of the dish. About the Artist: Born in St. Louis, MO, Harris moved to New York in 1920 and studied at the Art Students League with <a href="https://en.wikipedia.org/wiki/Max_Weber_(artist)" target="_blank" rel="noopener">Max Weber</a>. There he met other students with whom he would collaborate in the years ahead, eventually exhibiting along with <a href="https://en.wikipedia.org/wiki/Mark_Rothko" target="_blank" rel="noopener">Mark Rothko</a>, <a href="https://en.wikipedia.org/wiki/Milton_Avery" target="_blank" rel="noopener">Milton Avery</a>, and others at a 1928 show at Opportunity Galleries. In 1934 Harris joined the new Secession Gallery, then left a year later to co-found <a href="http://www.louisschanker.info/tendisc.htm" target="_blank" rel="noopener">"The Ten"</a>, a collective of expressionist painters upholding abstract art at a time when the Whitney Museum was shifting its emphasis to social realism. They argued that their mission was “a protest against the reputed equivalence of American painting and literal painting... [instead seeing] objects and events as though for the first time, free from the accretions of habit and divorced from the conventions of a thousand years of painting.” The group, which also included Rothko, Lou Schanker, Adolph Gottlieb, and Ben-Zion, held group shows between <a href="http://www.warholstars.org/abstract-expressionism/abstract/ten.html" target="_blank" rel="noopener">1935-39</a>. At their final show, NDG artist David Burliuk was included. Harris’s painting “Water Tanks” was selected for a 1938 FAP exhibit on Long Island, focused upon farms and rural life; fellow NDG artists Bena Frank, Herman Copen, and Tomizo “Thomas” Nagai also appeared. 3 works at <a href="http://www.kemperartmuseum.wustl.edu/collection/explore/artist/559" target="_blank" rel="noopener">Kemper Art Museum</a>. 1 work at <a href="http://rosecollection.brandeis.edu/Obj5743?sid=5230&x=149644" target="_blank" rel="noopener">Rose Art Museum</a>. 2 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-10-folder-13" target="_blank" rel="noopener">FAP</a>. His papers are at <a href="https://library.syr.edu/digital/guides/h/harris_l.htm" target="_blank" rel="noopener">Syracuse University</a>. Title A name given to the resource The Blue Beads Creator An entity primarily responsible for making the resource Harris, Louis, 1902-1970 Format The file format, physical medium, or dimensions of the resource jpeg, 914 KB jpeg, 9.3 MB Publisher An entity responsible for making the resource available Federal Art Project 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 #FA18169 Type The nature or genre of the resource Still image Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Identifier An unambiguous reference to the resource within a given context 079 Federal Art Project Louis Harris New Deal Gallery painting https://openvalley.org/files/original/4e305e0dbb5821c82af7ab78e7f2db68.jpg b4aae8a3dbded805373b8a21dd33e8d6 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 10 x 69 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 Panorama of Binghamton, NY Creator An entity primarily responsible for making the resource Haines Photo Co. Date A point or period of time associated with an event in the lifecycle of the resource 1909 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://lccn.loc.gov/2007661084">Library of Congress</a> Format The file format, physical medium, or dimensions of the resource jpeg, 624 KB Type The nature or genre of the resource Still Image Description An account of the resource Located at the confluence of two rivers, Binghamton at the time of this photograph was a rapidly growing town of nearly 50,000 inhabitants. We look across the Chenago River and see the Barlow, Rogers Company (one of the largest cigar manufacturers in New York), the Binghamton Spice Mills (founded in 1865), and the Fair Store (a furniture and housewares retailer). Several of Nabisco's "Uneeda Biscuit" advertisements are visible. At the far right of picture, the Chenago joins the Susquehanna River. Binghamton had long been a commercial crossroads--first during the days of the Chenago Canal and then two railroads--and increasingly became a site for manufacturing: cigars, shoes, business machines, Cold War defense systems. But with the decline of American manufacturing the city suffered the fate of other rust-belt communities and has struggled to reinvent itself. Binghamton, NY Panoramic Photo Susquehanna River Watersheds https://openvalley.org/files/original/47bb8e8349d62e3a1333c9ef067a32db.jpg 087315f4d6c1e8ad4639aa900a35191a https://openvalley.org/files/original/e8b55ce6605ce4c52e2e8409a110b97b.jpg e5a790852dc792db61742406cc822027 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 Steroview Physical Dimensions The actual physical size of the original image 3.5 x 7 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 Otsego Hall, Cooperstown, NY Creator An entity primarily responsible for making the resource Smith, Washington G., 1828-1893 Date A point or period of time associated with an event in the lifecycle of the resource Unknown Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived New York Public Library, Robert N. Dennis collection of stereoscopic views Format The file format, physical medium, or dimensions of the resource jpeg, 1.2 MB jpeg, 772 KB Description An account of the resource William Cooper founded the village of Cooperstown in 1786, and in 1799 built a large mansion inherited by his son, the novelist James Fenimore Cooper. It was located near the outlet of Otsego Lake, the beginning of the Susquehanna River. A fictionalized version of Otsego Hall appears as "The Mansion House" in his 1823 novel The Pioneers. The bricks-and-mortar version fell into disrepair during Cooper's years of travel in America and Europe; in 1834 he renovated it according to the new Gothic Revival style, pictured here in an undated stereocard. Cooper died in 1851, the mansion was sold and converted into a hotel, then burned down in 1853. Its brick and timbers had an afterlife, however, when his daughter Susan Fenimore Cooper--an important nature writer--salvaged them to build what she called the "Riverside Cottage." The original Cooper estate now is home to the Baseball Hall of fame and its grounds. Type The nature or genre of the resource Still image James Fenimore Cooper Otsego Lake Stereoview Susan Fenimore Cooper Susquehanna River Watersheds https://openvalley.org/files/original/0be5bf77e0c67b9e41c49cb9018d2dcb.jpg a892ee456421f50c0267af74543fea2c 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 42 x 72 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 Sidney Plains with the Union of the Susquehanna and Unadilla Rivers Creator An entity primarily responsible for making the resource Cropsey, Jasper Francis, 1823-1900 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Courtesy <a href="https://collections.lacma.org/node/236869">Los Angeles County Museum of Art</a> Format The file format, physical medium, or dimensions of the resource jpeg, 863 KB Type The nature or genre of the resource Still image Description An account of the resource Cropsey, initially trained as an architect, turned to painting in the style of Thomas Cole's sublime renderings of nature. He traveled in the Northeast and Europe, gaining recognition for his increasingly vivid fall hues and more restful settings. Here, we look downstream at the Unadilla River and see elements both of the pastoral--grazing herds at center and front left, split-rail fences, a cozy farmhouse--and of the modern. In the far distance, a small puff of smoke announces an Erie Railroad train traveling toward us: at this scale, it hasn't yet overwhelmed nature's beauty. In the foreground two figures relax (or wait?) alongside the river telegraph wires presumably paralleling the railroad. Its tracks are however carefully cropped out. Date A point or period of time associated with an event in the lifecycle of the resource 1874 Jasper Francis Cropsey painting Susquehanna River Unadilla River Watersheds https://openvalley.org/files/original/9d19ff01d418c50f54a3859b42ceacce.jpg 7590fe9bf65df67771b4a623a52b7308 https://openvalley.org/files/original/e49ef76244c18b31bdbe04ce5015ac9b.jpg 3b89a813fbc4f6bd7e1d72455eb3ac20 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 Composite Panorama 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/. Type The nature or genre of the resource Still Image