73 10 1399 https://openvalley.org/files/original/43cdb7859de5eaa0ccad0bfe25ab0043.jpg 77b0e72a13d391be692ac6d57ec27079 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Player html for embedded player to stream video content <iframe src="//www.youtube.com/embed/MXYJYNZpPmo" frameborder="0" width="640" height="480"></iframe> 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 Nepal Micro-Hydro Description An account of the resource Lighting mountain communities in Nepal through one simple solution Access to clean and affordable modern energy is critical for social and economic development. Worldwide, about 1.5 billion have no access to electricity, and 1 billion more have access only to unreliable electricity networks. In the Himalayan country, Nepal, the towering mountains are a formidable obstacle to the people who need modern energy. Only 20 percent of the mountain villages have access to electricity. Since 1996, UNDP, its partners and the Government of Nepal have worked together with local communities to provide energy to remote areas through one clean, simple and plentiful means: water. Nearly 400 micro-hydro power plants have been built bringing energy to roughly half a million people. Local communities themselves dig the channels to divert the water that powers the small plants. They also provide the labor to install the power lines and the light. "Micro-hydro was introduced in Nepal before, but the difference UNDP made was to put community people at the center of the project so that they are the driver to introduce this technology then also maintain and then have full ownership," says Shoko Nodo, UNDP Country Director in Nepal. Through these small hydro plants, big changes are happening. Clinics, schools, radio stations, businesses are all flourishing where once there was darkness and no electricity. This five-minute movie on the micro-hydro power plants of Nepal is a sneak preview of a longer documentary that will air on Discovery Channel in 2013. Date A point or period of time associated with an event in the lifecycle of the resource 2013-01-28T13:56:08.000Z Source A related resource from which the described resource is derived http://YouTube.com Rights Information about rights held in and over the resource <a href="https://www.youtube.com/static?template=terms">Standard YouTube License</a> Nepal,micro-hydro,UNDP,United Nations,Asia,Sustainable Energ https://openvalley.org/files/original/64cc64f3b2ec9ad26481d49b05617d9d.jpg 616f0b273ae0dcf216c9b35ce4a01232 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 Photography 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 Archway Cookie Factory buildings, probably about 1955 Description An account of the resource New Archway Cookie Factory building, probably about 1955. A color photo shows the white single-story building with a few cars parked outside. A truck—cut off in the photo—has an ‘archway’ logo on it. 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 About 1955 Contributor An entity responsible for making contributions to the resource Michalak, Benjamin 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, 3.2 MB Identifier An unambiguous reference to the resource within a given context 1208 Clark Rice Photography Collection Perry Knitting Co. Perry, NY https://openvalley.org/files/original/482331416227ee5746ec3275b058c88e.jpg bfd27bf44f4adda8d165a27d5b7ce43c https://openvalley.org/files/original/cc06479904d352c427b23f257036308a.jpg 2e8423c763a5618ef98eca0202e4b775 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Color lithograph Physical Dimensions The actual physical size of the original image Window: 14 1/4 x 12 1/4 in. Sheet: 17 x 14 3/4 in. Mat: 19 1/4 x 17 1/8 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 New for Old Format The file format, physical medium, or dimensions of the resource jpeg, 1.5 MB jpeg, 939 KB Description An account of the resource New for Old is a color lithograph, showing buildings on a street and a crane-like machine. There are what looks like building materials next to the machine. The buildings’ proportions feel slightly off, just enough where they seem to bend a little. Though the focal point would seem to be the construction, but the viewer does not get a good view of the construction itself, as there is a part of a wall still standing, and a dirt pile where the building materials are, along with the body of the crane machine. There is no movement in the print—no figures actively working on the construction site, or people on the street. The colors are muted yellow and blue, created an aged, washed-out effect on the print. The only dark part of the print is the bottom right corner where the building materials and dirt pile are. The print overall has an unsettling feeling to it, devoid of any living things and its washed-out color. It might suggest that perhaps this construction is not a good thing, because of the dark only around the building materials and the emptiness. It might make the audience wonder what the “old” was that is getting replaced, and what the replacement is. Though when compared to a similar print, Burke’s Delousing, which has a darker atmosphere and connotation to the title (“delousing” meaning to get rid of lice or other parasitic insects), New for Old seems to be a more positive—while still eerie—depiction of change and construction. About the Artist A pioneer in screen printing, Leonard Pytlak was born in 1910 in Newark, New Jersey. He attended the Newark School of Fine and Industrial Art, and the Art Students League in New York. Pytlak specialized in printmaking, both serigraphs and lithographs. He also painted, creating a mural for Greenpoint Hospital in Brooklyn, New York, under the WPA in the 30s. In 1938, he worked for the FAP in New York, in the Graphic Section, part of the silkscreen unit. He was a founding member of the National Serigraph Society and was elected twice as president. He had several solo exhibitions in the 40s, and was awarded the Guggenheim Fellowship in 1941 to investigate new techniques in color lithography and serigraphy. He also won awards from the Metropolitan Museum of Art, the Philadelphia Print Club, the Philadelphia Color Print Society, the Seattle Art Museum, the National Academy of Design, and the Library of Congress. During the 1960s, Pytlak taught drawing, painting, and screen printing, and ran a class for disabled students for the New York State Rehabilitation Department. 108 works at <a href="https://www.philamuseum.org/collection?artist=Leonard%20Pytlak">Philadelphia Museum of Art</a>. 22 works at <a href="https://www.nga.gov/artists/5289-leonard-pytlak/artworks">National Gallery of Art</a>. 8 works at <a href="https://americanart.si.edu/artist/leonard-pytlak-3901">The Smithsonian American Art Museum</a>. 1 work at <a href="https://www.mmoca.org/artist/leonard-pytlak/">Madison Museum of Contemporary Art</a>. 4 works at <a href="https://collections.mfa.org/search/objects/*/leonard%20pytlak">Boston Museum of Fine Arts</a>. 3 works at <a href="https://www.brooklynmuseum.org/search/collection?artist_maker=Leonard+Pytlak">Brooklyn Museum</a>. 24 works at Metropolitan Museum of Art. 7 images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-18-folder-40" target="_blank" rel="noopener">FAP</a>. 32 images at <a href="https://art.gsa.gov/people/1946/leonard-pytlak/objects" target="_blank" rel="noopener">GSA</a>. Creator An entity primarily responsible for making the resource Pytlak, Leonard (1910–1998) Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource c. 1935 Contributor An entity responsible for making contributions to the resource Singer, Ella (description and biography) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Musueum, Mount Morris NY Object #FA 84 Type The nature or genre of the resource Still image Federal Art Project Leonard Pytlak lithograph New Deal Museum Urban Setting https://openvalley.org/files/original/42212836f249522b0e9f74f5b055880a.jpg 5c5a3d7b0d72d18dd1000f10ff707a94 https://openvalley.org/files/original/284857da530104f5762e92b31bd61e1a.jpg 68f59cb6defcb30804a99411dbafa256 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: 12 7/8 x 9 7/8 in. Framed: 21 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 New Hampshire Auction Description An account of the resource Reed's print presents a crowded rural auction taking place in front of a large farmhouse barn. A crowd gathers closely together with movement towards the barn’s open doorway, where an auctioneer can be seen standing on a pedestal above the crowd. The people in the scene are holding various objects such as bedframes, chairs, wheelbarrows, ladders, and other household items. Given its date, we might infer that bankruptcy is forcing the sale. The print is characterized by the artist's signature layered crosshatching and use of shading, to create contrast that draws the viewer's eye in. Campbell uses negative space to create depth in a busy area, intentionally allowing the subjects to blend into the white paper as they move into the background of the piece. Campbell uses sharp lines to cut through the blended background elements such as the ground, sky, and parts of the crowd. It’s notable that structures and objects of interest are structured in front of curved, blended elements of the work that are meant to show movement such as the busy crowd or the clouded sky.  While there's a strange energy to people carrying off purchases, a young girl points at a bedframe that might have belonged to her. 6 images at <a href="https://art.gsa.gov/people/1314/harold-faye/objects" target="_blank" rel="noopener">GSA</a>. Creator An entity primarily responsible for making the resource Campbell, Blendon Reed (1872 - 1969) Publisher An entity responsible for making the resource available Federal Art Project Format The file format, physical medium, or dimensions of the resource jpeg, 2.5 MB jpeg, 734 KB Date A point or period of time associated with an event in the lifecycle of the resource 1938 Contributor An entity responsible for making contributions to the resource Killelea, Keira (description) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1153 Type The nature or genre of the resource Still image Bankruptcy Blendon Reed Campbell Farm Federal Art Project Great Depression lithograph New Deal Museum https://openvalley.org/files/original/b4115b3a5bcfa1616ccb03f922ed0be0.JPG daa59c1cc8f2f555536e1b607a7564af https://openvalley.org/files/original/860eaa0fd40aeb67a2ec9ecb5b707e4d.JPG 93d52b0b45eee4ab5d387e53ee404994 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: spotted, written on 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 Jersey Farm Creator An entity primarily responsible for making the resource Shulgold, William 1897-1989 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 1936 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Jackson, Madison (biography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18269 Type The nature or genre of the resource Still Image Format The file format, physical medium, or dimensions of the resource jpeg, 993 KB jpeg, 10.7 MB Description An account of the resource New Jersey Farm: A small, somewhat run-down farm is surrounded by trees and encroaching vegetation. There is a smoke stack in the background, indicating industrial transformations to area farmland. The painting’s earthy colors are somewhat tonal and sun-bleached; red and green tones provide the main contrast. Despite its beauty thhere seems to be a feeling of emptiness captured in this piece. About the Artist: Born in Kaminietz, Russia, Shulgold’s family immigrated to Pittsburgh, PA shortly thereafter. After graduating high school he studied art at the Carnegie Technical Institute with <a href="https://en.wikipedia.org/wiki/Arthur_Watson_Sparks" target="_blank" rel="noopener">Arthur Watson Sparks</a> and <a href="https://en.wikipedia.org/wiki/George_Sotter" target="_blank" rel="noopener">George Sotter</a>, then later with <a href="https://en.wikipedia.org/wiki/William_Auerbach-Levy" target="_blank" rel="noopener">William Auerbach-Levy</a> at the National Academy of Design. He also studied art in Paris and Florence. Shulgold began his career finding opportunities wherever he could: as a Carnegie student, he was awarded a prize for war poster design; in 1922, he created stage sets for a production of Booth Tarkington’s Penrod at the Irene Kaufmann Settlement theater; (Pittsburgh Daily Post 22 May 1918: 7; Pittsburgh Press 27 Nov. 1922: 17). Shulgold continued to teach students at the Settlement art school for several years. Meanwhile his paintings were exhibited at the Pennsylvania Academy of Fine Arts, the Carnegie Museum of Art, and the Corcoran Gallery. In 1928 Shulgold moved to New York, although he retained close ties to Pittsburgh. By the 1930s he was becoming known as a portrait painter, albeit with his own specific views: “One may consider heads as a study in architecture. The shape is comparable to the structural design of a building. The features of a face are like the windows and ornamentation of the building” (Naylor). In 1943 Shulgold moved to California, where he was in demand as a portrait painter—for example, of Ronald Coleman playing the film role of Richard III in A Double Life—while continuing his work in other genres. One review of a 1951 show said that “In California he has turned to gayer moods and smaller sizes in pictures of flowers, nudes, and small portraits” (“Portrait”). 2 works at the <a href="http://collection.thewestmoreland.org/4DACTION/HANDLECGI/CTN3" target="_blank" rel="noopener">Westmoreland Museum of American Art</a>. 1 more image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-21-folder-13" target="_blank" rel="noopener">FAP</a>. Sources Consulted: Douglas Naylor, “ ‘Studies in Architecture’: Title Artist Gives Head Drawings,” Pittsburgh Press 4 Dec. 1932: 34; “Portrait of Ronald Coleman Impresses,” Los Angelest Times 18 July 1948: 56. Identifier An unambiguous reference to the resource within a given context 176 Federal Art Project New Deal New Deal Gallery Oil on Canvas painting William Shulgold https://openvalley.org/files/original/d5de1d32e0e180b040f226fe5805275b.jpg 2e3ccd3277b71d9c0f4433b2ce3c3cb6 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 New lighting Description An account of the resource New lighting was put into the sewing room of the Perry Knitting Company in January of 1950. 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 01-1950 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, 2.7 MB Identifier An unambiguous reference to the resource within a given context 5242 Type The nature or genre of the resource Still image Clark Rice Photography Collection Perry Knitting Co. Perry, NY Sewing Room https://openvalley.org/files/original/89921e3ff51adf6d99c012b97c6aa618.jpg d7de847d9a8c3c5861306c8b23ddfbcf 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 New lighting at the Perry Knitting Co. Description An account of the resource Perry Knitting Company when the new lighting was put into position 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 1950 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, 1.41 MB Identifier An unambiguous reference to the resource within a given context 5243 Clark Rice Photography Collection Perry Knitting Co. Perry, NY https://openvalley.org/files/original/20922a8a3842bf8b900b9ee1bb3b9ea4.jpg 5d417559acaaab5748328bcd595f31bc https://openvalley.org/files/original/1616feca9185bfe9bcda65684054dad8.jpg 7e4aa7ac706060994e69064f00f1ed3e 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 Diagram 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 York and Erie Railroad organizational diagram Description An account of the resource According to its caption, "Representing a plan of organization exhibiting the division of administrative duties, and showing the number and class of [employees], engaged in each department." Creator An entity primarily responsible for making the resource McCallum, Daniel Craig Henshaw, George Holt Publisher An entity responsible for making the resource available New York and Erie Railroad Date A point or period of time associated with an event in the lifecycle of the resource 1855 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Wikimedia Commons Format The file format, physical medium, or dimensions of the resource jpeg, 1.4 MB Erie Railroad Underground Atlas https://openvalley.org/files/original/8b976fd7bf0012af3b4e59682272bad4.jpg 9046344e629daf97f34d7cd9ec0b22a6 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. 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 York Central Railroad Station Description An account of the resource The construction of the New York Central Railroad station in Rochester was indicative of a rise in industrialist development in the city in the mid-1800s. Creator An entity primarily responsible for making the resource Druse, Kristen https://openvalley.org/files/original/0010a62da6b57cad3c96b5f14cb424e3.jpg 86f398ad1922986bbed8a71f798005b9 https://openvalley.org/files/original/c0b5db71b3320bb36d085081249b58e5.jpg 2c7bd5e990fabf9e83bdf5569d38494d https://openvalley.org/files/original/b5976aaca18fae7887b01388bd420fd3.jpg f48cb76724f5802d2f7711939cee48c6 https://openvalley.org/files/original/f1f22b6549c38c40605a44b7e84dfd3d.jpg 35e3cf3952870fe3b967f5a310b26260 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 Caledonia 1892 Description An account of the resource This collection of images is based upon <a href="https://openvalley.org/files/original/3ae1204165be3bf753a4d31e568da22a.jpg" target="_blank" rel="noopener">an 1892 birds-eye panorama of Caledonia, NY</a> published by Burleigh Litho of Troy, NY. According to John William Reps, Lucien R. Burleigh was responsible—whether as artist or publisher—for some 228 lithographic city views (it is possible, even likely that the Caledonia map was executed by an employee named Christian Fausel). Trained as a civil engineer, economic recession pressed Burleigh into finding other ways of making a living. He began city viewmaking during the 1870s and by the mid-1880s was well established in his profession. His usual practice was to work from an available map, determine the most advantageous viewpoint (for a village like Caledonia, typically 1500 feet above the ground), and making small sketches at the street level. Another important task during a two- or three-week stay was soliciting subscriptions for the panorama: it took perhaps 100 persons, each paying $2.50-3:00 for a map, for the project to break even. The Burleigh map’s legend provides us with a snapshot of Caledonia in 1892, just recovering from a major fire in 1891. It lists railroad stations, churches, the public school, and even Seth Green’s fish hatchery, but a majority of the numbered locations are commercial enterprises—a likely base of customers for purchasing copies of the completed work. Using old newspapers and trade magazines, this collection has gathered advertising from most of the businesses. Its purpose is to populate an interactive map for the “Heraldry” section of the “Clans of Caledonia” exhibit, where we see immigrant affiliations interacting with national and commercial icons—a complex process of so-called “Americanization.” Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Thanks to Tom Tryniski, Fulton History 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 Newspaper advertisements 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 York Central Railroad Station, Caledonia Description An account of the resource Number 8 on the Burleigh map, depot originally was located next to William Hamilton's produce business on the east side of North St. Constructed in ca. 1853 along with the Canandaigua & Niagara Falls Railroad, the line was purchased in 1858 by Cornelius Vanderbilt's New York Central as its Canandaigua branch--although popularly dubbed the "Peanut Line" due to its diminutive stature in the sprawling rail empire. In 1916 a new station was built on the west side of North St., where it still is standing today. In the cutthroat railroad business, Vanderbilt's New York Central was quite aggressive in repackaging its more functional business in freight and passenger service into new, tourism-inspired "Excursions." Here, far-flung locations like Seattle and New England beckon Caledonians along with more familiar attractions like Niagara Falls. It's difficult to judge the success of such marketing; amidst competition from automobiles and consolidation of the rail industry, the Canandaigua branch closed in 1939--and this station along with it. Publisher An entity responsible for making the resource available 1. Caledonia Advertiser 2. Caledonia Era Date A point or period of time associated with an event in the lifecycle of the resource 1. 1896-12-17 2. 1909-08-25 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Courtesy of Tom Tryniski / Fulton History Format The file format, physical medium, or dimensions of the resource 1. jpeg, 264 KB 2. jpeg, 976 KB Burleigh Litho Co Caledonia, NY New York Central Railroad Peanut Line Tourism