55 10 1323 https://openvalley.org/files/original/1eac0885979cf9958ad078e5a060c9a7.jpg 06a630cf4269a6b817a250f523b5d5eb 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 Paper letter Physical Dimensions The actual physical size of the original image 8.5 x 11 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 Letter from the Executive Board of Rochester's Street, Fire, and Water Commissioners to William A. Wadsworth Description An account of the resource A proposal to Wadsworth that he grant the Rochester water authority unlimited access to the waters of Canadice Lake Creator An entity primarily responsible for making the resource Cleveland, S[eth] D. W. (1846-) Date A point or period of time associated with an event in the lifecycle of the resource 1890-11-29 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Wadsworth Family Papers, Box ?? Milne Library Special Collections, SUNY Geneseo Format The file format, physical medium, or dimensions of the resource jpeg, 12.1 MB Canadice Lake Hemlock Lake Rochester Wadsworth, William A. water https://openvalley.org/files/original/1e08cda0c934ba74688ce0820208b801.jpg e8bdf830fe075f26cb6cf4335a5864c9 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Photograph of watercolor painting Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lexington & 35th St. Description An account of the resource Gaige's title is slightly puzzling, for this seems to be the Episcopal Church of the Incarnation on Madison & 35th. The congregation built a sanctuary at this location 1865; the current structure dates to 1896. About the Artist: Born in Candor, NY, Gaige grew up in Binghamton and graduated from the School of Art at Syracuse University. He then moved to New York City where he worked as a painter, a freelance designer, and a teacher at the Parsons School of Design. His own innovations for a line of women’s compacts, cigarette cases, and coin cases for Volupté was recognized at the Museum of Modern Art’s exhibition <a href="https://www.moma.org/documents/moma_catalogue_2789_300190548.pdf" target="_blank" rel="noopener">“Useful Objects of American Design Under Ten Dollars”</a> (1940). Along with his design work during the 1930s, Gaige was employed by the Federal Art Project. In 1942 he enlisted in the Army, serving first as a structural draftsman at Fort Dix, NJ, where he was featured in a humorous article on subject of slang between soldiers and their sweethearts:“This sugar report is coming straight from second heaven. You should cop a gander at the taxpayers straggling in. This new bunch of handcuffed volunteers has everything including short pants, battle wagons, moss backs, cruisers, modern guineas and a Hollywood private to snow ‘em under” (Cross). Gaige later became a writer-artist for Yank newspaper, traveling to the Middle East. The probable cause for this shift in direction was the positive reaction to his cartoons about military life, eventually collected into a book entitled Me and the Army. One critic wrote that “Every right page is filled with rough and ready sketches, full of life and keen observation, of all that goes on during the early days of training. Gaige may not be a great artist, but is a great observer of human activity from the mass nudity of medical inspection to the calm dignity of church service. The book is really a letter from a soldier to the folks at home—any soldier to any parents” (Dungen). After the war Gaige lived first in Pennsylvania and then in Miami. 11 images at <a href="https://openvalley.org/items/show/983" target="_blank" rel="noopener">OpenValley</a>. 4 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-8-folder-12" target="_blank" rel="noopener">FAP</a>. Sources Consulted: Christopher Cross, “How to Write to Him in His Own Language” (Albuquerque Journal 18 Oct 1942: 15. H.L. Dungen, “Witty Discourse on Army Life,” Oakland Tribune 20 June 1943: 19. Creator An entity primarily responsible for making the resource Gaige, Richard T[homas], 1907-1992 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1937 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-8-folder-12" target="_blank" rel="noopener">Archives of American Art, Federal Art Project, Photographic Division, Box 8, Folder 12.</a> Format The file format, physical medium, or dimensions of the resource jpeg, 172 KB Type The nature or genre of the resource Still image Federal Art Project New Deal Gallery New York Richard T. Gaige Watercolor https://openvalley.org/files/original/be3e18b6fa82459d3997125bf78003d3.jpg 3e502a45e25cdd049ed6933d29f2bf32 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 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 Library Interior Description An account of the resource The inside walls of the Perry Public Library 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 1935-06 Contributor An entity responsible for making contributions to the resource Cobo, Meghan 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, 855 KB Identifier An unambiguous reference to the resource within a given context 570 Clark Rice Photography Collection Library Perry Knitting Co. Perry, NY https://openvalley.org/files/original/67a873a72eed00a1e2ad03ef497a107f.jpg 9d8884e8945adb0bf9eb49c5c41563ec 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 23 x 17 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 Life of George Washington--The Farmer Description An account of the resource Washington is depicted as a beneficent gentleman farmer of his Mt. Vernon estate in Virginia, surrounded by a well-ordered operation, its overseer, happy workers, and two children playing in the foreground. The image is part of a five-part series illustrating George Washington in idealized portraits: as farmer; as a statesman at the Constitutional Convention; at his marriage; as a Captain in the French and Indian War; and on his deathbed. They were created during the volatile antebellum period and deployed mythical images on behalf of slavery. That Washington's workers are slaves--and the overseer and children white--shows how fraught the issue of farm labor was at a national scale. In New York, farmers rejected slavery but still needed hired labor when the scale of agriculture increased. Note: the original border of this lithograph has been cropped Creator An entity primarily responsible for making the resource Stearns, Junius Brutus (painting) Regnier, Claude (lithograph) Publisher An entity responsible for making the resource available Library of Congress Date A point or period of time associated with an event in the lifecycle of the resource 1853? Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Library of Congress Prints and Photographs Division Permalink: https://lccn.loc.gov/96521631 Format The file format, physical medium, or dimensions of the resource jpeg, 535 KB Type The nature or genre of the resource Still image Farm farmers George Washington Mt. Vernon Slavery 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/db4698a917430da0e48e11615a92e03b.JPG 6bf16a929a9fcd42f66447bdaf559a0b 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 20 x 24 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/. Title A name given to the resource Lilies Format The file format, physical medium, or dimensions of the resource jpeg, 1.1 MB Description An account of the resource From slightly above a table, we look down upon a vase of trumpet lilies playing in all directions, their green foliage lush. A dark background adds dramatic contrast the white lilies. Next to the vase is a figure wearing a helmet or headress with a red jewel. About the Artist: There are conflicting, possibly invented details surrounding the life of this colorful artist. Born in England to a Spanish father and English mother, her birth name was Mable Alice Mary Azue; her stated birth date ranges between 1896 and 1901. According to a 1951 newspaper feature, her mother was killed during a 1914 German bombing raid of London, then the teenager’s education was sponsored by a soldier named George W. Witten, who married her a year later when she was sixteen. Col. Witten’s own story—of running away from home to become a soldier of fortune, fighting in the Boer War, plotting to overthrow Venezuela, publishing exposes of fraudulent stock transactions—has its own interests, not least his profession as writer-adventurer (Hooper, “Soldier”). Bunty Witten’s life as an artist included study in New York with Michel Jacobs and fashion designer Ethel Traphagen, then briefly at Académie Colarossi in Paris. Her work included commercial art, interior design, and book illustration. A charming illustration for Jack O’Brien’s <a href="https://openvalley.org/items/show/1332" target="_blank" rel="noopener">Rip Darcy, Adventurer (1938)</a> shows her talent for portraiture, which included several well-known figures: Gen. Robert Lee Bullard and the aviators Amelia Earhart and Jessie “Chubbie” Miller. As of the late 1930s she and her husband, Col. George W. Witten, had relocated to St. Petersburg, FL. Sources Consulted: Paul Hooper, “The Vista That Hides the View,” Tampa Tribune 18 Nov. 1951: 45; Paul Hooper, “Soldier of Fortune Finally Reaches ‘Journey’s End,’” Tampa Tribune 15 June 1952: 46; Lilian Blackstone, “Artist and Husband Forget Their Proposed Trip to Guatemala as Soon as They Reach Here,” Tampa Bay Times 30 April 1932: 14. Creator An entity primarily responsible for making the resource Witten, Bunty, 1894-1968 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 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 #FA18372 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 200 Bunty Witten Federal Art Project New Deal Gallery still life https://openvalley.org/files/original/74e0d9a762f2797eb0727219534bb284.JPG 9dabb0176ec8a02a0be17b04a1d5474c https://openvalley.org/files/original/32d72e8ee32d85df138044a85e0b3c9f.JPG 8a5024579cfb1efd8fd88fba324b277c 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 12.5 x 20.75 in. Condition: watermarks, paper buckling, colors slightly faded Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lilies and Crystal Format The file format, physical medium, or dimensions of the resource jpeg, 941 KB jpeg, 11.4 MB Description An account of the resource A single lily stem displays two blossoms, with the promise of a third; their colors and shapes run extravagently in all directions. Holding the lily is a crystal vase with a mesmerizing, flame-like pattern. Through its facets we see the lily’s green but also a range of colors drawn from the surrounding wall or atmospheric light. About the Artist: Born in Norfolk, VA, Frank spent her early years in Wyoming because her father was a sheep rancher. Perhaps hyperbolically, she recalled that “The sheep froze, and Indians raided the town. I remember seeing Indians over in the hills” (citation). Her family moved to New York in 1913, where Frank studied at the Cooper Union, the Arts Students League, and privately with <a href="https://en.wikipedia.org/wiki/Stuart_Davis_(painter)" target="_blank" rel="noopener">Stuart Davis</a>.  She was a founding member of the New York Society of Women Artists (founded 1925). Expressionist. In 1927 she married artist Ralph Mayer, a specialist in painting materials who published <a href="https://archive.org/details/painterscraftint00maye" target="_blank" rel="noopener">The Painter’s Craft</a>. A lot of information on her, some of it biographical. Signs a declaration published in NYT 26 June 1962 (Cuban Missile Crisis?) on “the certainty of damage through testing and the imminence of catastrophe through miscalculation. We ask, in the name of our posterity, in the name of the unborn generations and of works yet unborn, that the current tests be stopped, never to be resumed” (p. 1). Her watercolor “Salt” appeared in a 1938 FAP exhibit on Long Island, focused upon farms and rural life; fellow NDG artists Louis Harris, Herman Copen, and Thomas Nagai also appeared. The Brooklyn Museum (1930), 1 work at <a href="https://www.nga.gov/collection/art-object-page.19336.html" 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-7-folder-32" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Frank, Bena Virginia, 1898-1991 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 #FA18157 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 067 Bena Virginia Frank Federal Art Project New Deal Gallery Watercolor https://openvalley.org/files/original/933bdfb9ca1b33dca4659811a3a51cb5.jpg bad6cdbb8f0789e9d00e76c1667037bf https://openvalley.org/files/original/4fdc3cea2119d8b3bad225fd19f379ed.JPG ad3a442c0d5ebbc6bf7e36c58b2d3633 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 Condition: dented, surface dirt, paint flaked 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 Lilies and Shell Description An account of the resource It’s possible that the flowers depicted in this still life are wild mountain lilies (Lilium auratum), also called the golden-rayed lily of Japan. Whatever the case, flowers’ size and colorful radials draw our attention inward—which is similar in effect to a conch shell pictured on the same table. Warm peach colors are played against complementary greens and blues. About the Artist: Born in Syracuse, NY, Bowler attended the Syracuse University College of Fine Arts and there received a postgraduate award for study in Paris. He was best known for painting official portraits of prominent political, military, and theatrical figures such as dancers Ruth St. Denis and Michel Fokine; humorist Will Rogers, actor Vincent Price, and explorer/author Richard Halliburton. Bowler also traveled to Washington, D.C. to paint portraits of Secretary of State Cordell Hull and Vice President John Nance Garner, among others. But Bowler also was passionate about landscapes and still lifes. A 1940 newspaper article implies that his two works at NDG were part of “a series of flower paintings done for all the tuberculosis hospitals in New York” (Allentown, PA Morning Call 31 Mar. 1940: 16). During World War II, Bowler served as Director of Design for a camouflage section of the 909th Air Force Engineers, organizing a 1943 show of their work at Macy’s Department store. It was after a 32-mile training hike that he painted a well-known image entitled <a href="https://bucksco.michenerartmuseum.org/bucksartists/image/67/">“After the Hike”</a>—a picture of his worn pair of army shoes—that was exhibited in the Library of Congress. Bowler also served as director of an arts program for the American Red Cross and as a USO portrait artist during the war (Syracuse Herald-Journal 23 July 1965: 14). After 1945 Bowler continued to live and work in Bucks County, PA. A critic attending the Philips’ Mill Art Exhibition wrote that he had “all the majesty and power of great people who see great movements and think great things. A realist, his ‘Little Red Barn’ is characterized by a sensitive brush, a direct approach, rich colors and mellow overtones and an uninhibited technique — all contributing to the aching loveliness of this farm scene” (Muhlenberg Weekly 14 Oct. 1948: 2). In addition to producing many paintings, Bowler was an art teacher for much of his professional life. 1 work at <a href="https://americanart.si.edu/artist/harold-bowler-536">Smithsonian American Art Museum</a>. 3 works at <a href="https://bucksco.michenerartmuseum.org/bucksartists/artist/35/https:/bucksco.michenerartmuseum.org/bucksartists/artist/35/">Michener 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-3-folder-19">FAP</a>. Creator An entity primarily responsible for making the resource Bowler, Harold T., 1903-1965 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) Format The file format, physical medium, or dimensions of the resource jpeg, 1.2 MB jpeg, 4.1 MB Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18119 Type The nature or genre of the resource Still image Federal Art Project Harold Bowler New Deal Gallery still life https://openvalley.org/files/original/7144035797dfb6e5fd8987b2c317b4ca.png 9c12ad91dd76f3828c6c833a76584d35 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"x3" 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 Little Italy Description An account of the resource A photo of the town of Little Italy Creator An entity primarily responsible for making the resource Yasso, J. Marilyn Hannett Date A point or period of time associated with an event in the lifecycle of the resource 1923 Contributor An entity responsible for making contributions to the resource Auld, Mary Source A related resource from which the described resource is derived History of Retsof, New York Format The file format, physical medium, or dimensions of the resource Book https://openvalley.org/files/original/cae578105a1683b6f74b6152df388642.jpg bd76b250ea1dbcdc7844dfcec79353dc 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 Little Italy House Foundation Description An account of the resource A present day photo of the remains of a house in Retsof, Little Italy. Creator An entity primarily responsible for making the resource Mary Auld Date A point or period of time associated with an event in the lifecycle of the resource 2015 Type The nature or genre of the resource Photograph