46 10 1321 https://openvalley.org/files/original/68c16c1b9ee09dd9b4e57d92552ad7ef.jpeg 3991cd4a89d292e7a90f2f50c0ece25a 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 Physical Dimensions The actual physical size of the original image 10.5 x 25 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 Hurricane Agnes, Geneseo Flooded Areas Source A related resource from which the described resource is derived "Report of Flood, Tropical Storm Agnes, 21-21 June 1972: Genesee River Basin" Description An account of the resource Map of areas impacted by the June 1972 Hurricane Creator An entity primarily responsible for making the resource U.S. Army Engineer District, Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1973--08 Contributor An entity responsible for making contributions to the resource Cooper, Ken Format The file format, physical medium, or dimensions of the resource jpeg, 3.9 MB Type The nature or genre of the resource Map Geneseo Hurricane Agnes Lake Geneseo Underground Atlas https://openvalley.org/files/original/af3d52b6145e1f6ef28b1ed42477568c.png 4b014cf1acb5e46b7fa2f1bcaf34d55c 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 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 Hussey's Reaping Machine Description An account of the resource While others had previously submitted patents for harvesting machine, this one designed by Obed Hussey in 1833 is considered the first workable farm implement of its kind. Two horses and two workers could harvest grains at a much faster rate than handheld scythes--claims approaching twenty acres in a single day. Hussey's reaper is not so well known as the McCormick machine, yet for two decades a "War of the Reapers" was fought in field trials, patent offices, and even in Congress as the companies sought patent extensions. Hussey's design was considered superior due to a cutting mechanism that didn't jam, and better quality of manufacture. Obed's brother Thomas built them in Auburn, NY. Eventually the Hussey and McCormick designs were synthesized, and the mechanical reaper became a must-have farm implement. Publisher An entity responsible for making the resource available Thos. R. Hussey Date A point or period of time associated with an event in the lifecycle of the resource 1848-07 Source A related resource from which the described resource is derived The Genesee Farmer 9.7 (July 1848): 176 <a href="https://archive.org/details/sim_genesee-farmer_1848-07_9_7/page/176/mode/1up" target="_blank" rel="noopener">Courtesy of Internet Archive</a> Format The file format, physical medium, or dimensions of the resource png, 643 KB Type The nature or genre of the resource Lithograph Contributor An entity responsible for making contributions to the resource Shaw, Ethan Harvest Industrial Equipment Reaper The Genesee Farmer https://openvalley.org/files/original/60eb7e04c296f2a7d5091e3480d7c57d.jpg 4421116368f20085a1aa47846e2dafb1 https://openvalley.org/files/original/5932d6c9d6436e718651c21df73f3d06.jpg 1e806769ea169d39fdda02bfd8f4b04a 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 on paper Physical Dimensions The actual physical size of the original image Image: 11 3/4 x 8 1/4 in. Frame: 18 x 15 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 I Am an American Description An account of the resource A Black man in an all-black suit, paired with a top hat just off center in the foreground of the image, pushes a loaded cart down what seems to be an alley. The cart sports two miniature American flags at the end, and the three-wheeled wagon’s path points perpendicular to the road and directly toward the audience, suggesting an unstable control over the man’s own belongings. There are too many obstacles--even the piece’s heavily imbued texture works to visually chip away at the man’s effort--but despite the difficulties, the title suggests this stubborn man persists, perhaps commenting on the “true American” qualities of the working class. He pays no mind to the only other person in the image, a crouched homeless woman who sits outside a small domicile, just behind the American. Perhaps Steth is paradoxically noting the “rugged individualism” mentality that comes with perceived American success. From his shaggy, worn coat, to his asymmetrical top hat, down to his patriotic display, he remains diligent about appearances. He wheels his cart down the uneven, textured path of the road, heaving his body forward in an asymmetrical tilt to gain leverage. The contrast in the man’s suit and his environment centers him and further brings to light his futile action. Neither suit nor patriotic homages will grant him a place in the eyes of America’s racial majority. About the Artist Raymond Steth was an African American graphic artist born into a working-class farming family in Norfolk, Virginia before moving to Pennsylvania. He spent much of his childhood in North Carolina, where he worked on the farm his uncle sharecropped. In 1938, he began working for the graphics division of the Federal Art Project, where he shared a studio with colleague <a href="https://en.wikipedia.org/wiki/Claude_Clark">Claude Clark</a>, one of several artists Steth worked and exhibited alongside of. This allowed him the experience to work as a professional artist; he later furthered his education by attending the Philadelphia Museum School of Industrial Art in 1941 and the Barnes Foundation in 1942. While working for the W.P.A., Steth made social realist prints and drawings depicting labor, poverty, and culture all intersecting with the Black experience in America. As in his lithograph <a href="https://www.philamuseum.org/objects/46659?keyword=Memberships" target="_blank" rel="noopener">I Am an American</a>, he can be seen both sympathetically and ironically depicting the abundant life and struggles of African American communities. <a href="https://www.metmuseum.org/art/collection/search/372049" target="_blank" rel="noopener">Apostolic</a>, another lithograph, illustrates a lively room of black people rejoicing and praying, depicting, or even mocking, the importance of faith in African American identity, while highlighting communal uplifting and joy. <a href="https://americanart.si.edu/artwork/heaven-mule-23025" target="_blank" rel="noopener">Heaven on a Mule</a> is a scene of an impoverished family’s encounter with angels, commenting on how although religion may offer this family solace, it alone cannot change their circumstances. Fittingly, he was raised under the Pentecostal faith, being told by his mother and especially his aunt--who was an active participant and official at their church--that he could someday become great if he did as they told, went to church, and prayed. His works were exhibited at the Library of Congress in 1940, the South Side Community Art Center in Chicago in 1941, and Fort Huachuca in Arizona in 1943. Some of Steth’s prints were given to the Philadelphia Free Public Library in 1941, recognizing his usage of the carborundum print process invented by fellow Black artist, <a href="https://en.wikipedia.org/wiki/Dox_Thrash" target="_blank" rel="noopener">Dox Thrash</a>, that allowed for wider range and texture of tones in black and white, and thus depiction of varying black skin. Steth was the first to use the double print method for making color prints on a burnished plate. Steth also founded and directed the Philographic School of Art in 1948. Whether Steth remained religious in his later years as his family members advised, he certainly became an influential American artist in his time. 14 works at <a href="https://www.metmuseum.org/art/collection/search/372052" target="_blank" rel="noopener">The Metropolitan Museum of Art</a>. 14 works at the <a href="https://collections.newarkmuseumart.org/search/steth" target="_blank" rel="noopener">Newark Museum of Art</a>. 8 at <a href="https://www.philamuseum.org/collection?artist=Raymond%20Steth" target="_blank" rel="noopener">Philadelphia Museum of Art</a>. 6 at <a href="https://www.slam.org/collection/constituents/2816/" target="_blank" rel="noopener">Saint Louis Art Museum</a>. 2 works at the <a href="https://www.nga.gov/artists/34307-raymond-steth" target="_blank" rel="noopener">National Gallery of Art</a>. Works Consulted: “Art Exhibit Comes to Philly,” The Villanovan (16 Feb 1990: 21) <a href="https://archive.org/details/villanovan65_01_reel01/page/n259/mode/1up?q=%22raymond+steth%22" target="_blank" rel="noopener">Link</a>; “New Carborundum Print Process,” New York Age 1940 (Tuskegee Institute News Clippings) <a href="https://archive.org/details/per_tuskegee-institute-news-clippings-file_inventions_1940/page/n14/mode/1up?q=%22raymond+steth%22." target="_blank" rel="noopener">Link</a>; Jerry Wood, “A New Print Process” (The Crisis Dec. 1940: 379+) <a href="https://archive.org/details/sim_crisis_the-crisis_1940-12_47_12/page/378/mode/1up?q=%22raymond+steth%22" target="_blank" rel="noopener">Link</a>; Synatra Smith, “Raymond Steth” (Philadelphia Museum of Art 14 April 2022) <a href="https://philamuseum.libguides.com/blog/Raymond-Steth" target="_blank" rel="noopener">Link</a>; Marge Kline, “Clip of Oral History Interview With Raymond Steth” (Archives of American Art 28 April 1990) <a href="https://collections.si.edu/search/detail/edanmdm:AAADCD_oh_213643?q=steth%2C+raymond&record=4&hlterm=steth%2C%2Braymond." target="_blank" rel="noopener">Link</a>; Lowery Stokes Sims, “Artists for Victory and the WPA at the Met: Catalytic Acquisitions of Work by African American Artists in the Early 1940s (115-121 in Denise Murrell, The Harlem Renaissance and Transatlantic Modernism, 2024) <a href="https://archive.org/details/the-harlem-renaissance-and-transatlantic-modernism/page/114/mode/1up?q=%22raymond+steth%22" target="_blank" rel="noopener">Link</a>.   Creator An entity primarily responsible for making the resource Steth, Raymond (1917-1997) Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1935 Contributor An entity responsible for making contributions to the resource Nicaj, Angelea (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 1514 Format The file format, physical medium, or dimensions of the resource jpeg, 2.1 MB jpeg, 892 KB Type The nature or genre of the resource Still image African American Federal Art Project Great Depression lithograph Raymond Steth https://openvalley.org/files/original/29eb690ceff5b0f8e82105d04144ab30.jpg 256cc6e96e68be205fa2821d80b8bb88 https://openvalley.org/files/original/fea22e726c06186f9a9c270331a3f7eb.jpg 0ba4a10947e1f485c7b3a06721d7f12f 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 Physical Dimensions The actual physical size of the original image 22 x 16 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Format The file format, physical medium, or dimensions of the resource jpeg, 1.9 MB jpeg, 10.8 MB Title A name given to the resource I Feed You All! Description An account of the resource No doubt inspired by the Granger movement, the artist asserts the importance of the farmer in American society. The title is a variation on the movement's motto, "I Pay for All." The Grange was an organization composed mostly of midwestern farmers, who united to combat the monopolistic practices of the railroads and grain elevators. The central vignette shows a farmer with a plough and two horses. In the distance is a large house. The vignette appears within a framework of twigs and oak branches, with stalks of corn and sheafs of wheat in the corners. Above the scene is an eagle and an arrangement of flags, with the inscription "1776. 1876." Several smaller scenes surround the central vignette. Clockwise from the upper left corner are: a lawyer ("I Plead for All"); a seated President Ulysses S. Grant ("I Rule for All"); an officer leading a charge ("I Fight for All"); a clergyman at his pulpit ("I Preach for All"); a ship owner watching his vessel through a window ("I Sail for All"); a shopkeeper in a general store ("I Buy & Sell for All"); a doctor with a scale and drugs ("I Physic You All"); a broker at his window ("I Fleece You All"); a trader (I Bull & Bear for All"); and a railroad owner watching his locomotive ("I Carry for All"). Description courtesy Library of Congress Creator An entity primarily responsible for making the resource American Oleograph Date A point or period of time associated with an event in the lifecycle of the resource 1875 Source A related resource from which the described resource is derived <a href="https://www.loc.gov/pictures/item/2003690771/" target="_blank" rel="noopener">Library of Congress</a> Contributor An entity responsible for making contributions to the resource Cooper, Ken Type The nature or genre of the resource Still image farmers Poster The Grange https://openvalley.org/files/original/6099be68994cbaf5ed2c21b4041ef747.jpg d0aae86dfd02c7fe813e5c6b85cdee80 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 10 x 8 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 Ice cutting on Silver Lake Description An account of the resource Ice cutting on Silver Lake. I believe this was taken by Clark about 1935. 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 1935 Contributor An entity responsible for making contributions to the resource Lisicki, Macaire 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, 1.37 MB Identifier An unambiguous reference to the resource within a given context 5205 Clark Rice Photography Collection Perry Knitting Co. Perry, NY https://openvalley.org/files/original/6233c08bbfb93b94bdee81ff952a9602.jpg 2ad023ef118a6f8828669c9b9ece71d9 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 10 x 8 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 Ice harvesting on Silver Lake Description An account of the resource Ice harvesting on Silver Lake showing the cutting with the ice being guided to the area where the ice would have been put into smaller blocks. 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 Unknown Contributor An entity responsible for making contributions to the resource Lisicki, Macaire 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, 1.45 MB Identifier An unambiguous reference to the resource within a given context 5204 Clark Rice Photography Collection Perry Knitting Co. Perry, NY, https://openvalley.org/files/original/4b667003983a3291b2154fd85226c613.jpg 6c9f809989cfecf6bb1414c2c806bce8 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 8 x 10 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 Ice sign Description An account of the resource Ice sign that showed what the customer would like to have delivered. The blocks were charged at a different rate. This folder contains an article and other prints of the natural ice crop. 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 Unknown Contributor An entity responsible for making contributions to the resource Lisicki, Macaire 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, 1.35 MB Identifier An unambiguous reference to the resource within a given context 5247 Perry Knitting Co. Perry, NY https://openvalley.org/files/original/bd9bc74e69ffbdba6325b04ace21571b.jpg 2a371654b5cd8c81bc042f36c048be4e https://openvalley.org/files/original/ae636c57e46b34318c10f5af413547dd.jpg 2fbcbf61a11d805dded1bec08dc11eb9 https://openvalley.org/files/original/8100c816dd753b04dd4a571a9d9a3672.jpg fbace7d8977e205ba287447bc210328d https://openvalley.org/files/original/d5526db304375c63bf2d61891e65f17a.jpg 726c2499045f0f3b6cf54f8f0ee312b4 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 Magazine illustrations 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 Illustrations for "Flights Abroad" Creator An entity primarily responsible for making the resource Cederquist, A[rthur] E[manuel] (1884-1954) Publisher An entity responsible for making the resource available The Outing Magazine Date A point or period of time associated with an event in the lifecycle of the resource 1910-07 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived The Outing Magazine 56 (July 1910): 419, 423, 425, 426. Description An account of the resource Short story by F. St. Mars adopts centers upon a black kite--that is, the migratory predator--who as the narrative opens is hunting in the Southern Downs of England. A series of events take it across Europe and eventually to Africa, engaging in showdowns with wild dogs and avoiding human hunters. In a dramatic finale, the kite kills a grouse but then: "Another rush of wings, mightier than the first. Another scuffle. Another burst of feathers, and the kite was down. A tremendous and awful apparition of a bird, known but vaguely to men as a war-like crested eagle, was on top of him. And there the story, and the life of our black kite, ended quite abruptly thus--!" (427). The story's point of view owes something to literary naturalism and its dynamics of Social Darwinism, most famously rendered in the works of Jack London. Four illustrations to Mars's story were created by New Deal Gallery artist A. E. Cederquist. Their captions run as follow: Page 419: "Before science he was a black or migratory kite and had no business where he was at all." Page 423: "He knew that a caravan meant a city sooner or later, and it may mean food." Page 425: "He dare not take his eyes off the crouching, advancing red shape in front of him." Page 426: "The first sand grouse was down again, the kite on top of it." Format The file format, physical medium, or dimensions of the resource 1. jpeg, 393 KB 2. jpeg, 429 KB 3. jpeg, 187 KB 4. jpeg, 441 KB Type The nature or genre of the resource Still images Cederquist, A.E. New Deal Gallery Sporting Art https://openvalley.org/files/original/c00321144fc9722e7c33bc84f2a85ddf.jpg ab813e6e561fa30836c90f7c82bc3936 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 Image of Geneseo's Indian Fort Trail Description An account of the resource Indian Fort Trail Geneseo 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 Chauvin, Noah Wong, Megan Subject The topic of the resource Trails Geneseo Creator An entity primarily responsible for making the resource Chauvin, Noah https://openvalley.org/files/original/9976059e210cbe41065f2a281cbf4452.jpg 0808b801f26f09a636d2d8f5af22f196 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 Engraved advertisement 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 Improved Combined Thresher and Winnower Description An account of the resource Portion of an advertisement for horse-powered machinery depicts a team on treadmill with the company's patented "endless chain railway." Its purpose was to process harvested grains like wheat or barley and eliminate the arduous work of separating kernels from the head. Among the many advertisements for agricultural machinery, this image is relatively unique in showing several workers using the equipment. It sold for $245--or about $8,500 in contemporary terms--and thus represented a significant investment for farmers. New York State Agricultural Works was run by engineers Alonzo Wheeler and William B. Melick in Albany, NY where it persisted until bankruptcy in 1888. Creator An entity primarily responsible for making the resource Ferguson, Hiram Publisher An entity responsible for making the resource available Wheeler, Melick and Company Date A point or period of time associated with an event in the lifecycle of the resource 1857? Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived The Cultivator 4.8 (1860): 135 <a href="https://archive.org/details/sim_cultivator_1860-04_8_4/page/135/mode/1up" target="_blank" rel="noopener">Courtesy of Internet Archive</a> Format The file format, physical medium, or dimensions of the resource jpeg, 1.4 MB Type The nature or genre of the resource Still image advertisement agricultural machinery Farm implements Wheeler and Melick