94 10 1402 https://openvalley.org/files/original/65f3ebd26039b507f1cef2f10bed71d5.JPG 54d6154dcc37ea86eff417a9eddef37e 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 Physical Dimensions The actual physical size of the original image 8x12 inches 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 Picture of Peabody accounts Description An account of the resource Accounts of Sheffield Peabody's accounts for workers. Creator An entity primarily responsible for making the resource Sheffield Peabody Date A point or period of time associated with an event in the lifecycle of the resource 1888 Source A related resource from which the described resource is derived Sheffield Winslow Peabody Diaries and Pass Book, 1849-1914. Genesee Valley Historical Collection, Milne Library, SUNY Geneseo. Format The file format, physical medium, or dimensions of the resource jpeg, 80 KB Type The nature or genre of the resource Still image, paper, 8x12 Contributor An entity responsible for making contributions to the resource Guinan, Brodie https://openvalley.org/files/original/d9131e38435586f9e3a35599fdd72681.jpg 90d8914e1f73ab33dd8eaf4e7ab6860c 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 Picture postcard, color Physical Dimensions The actual physical size of the original image 8.5 x 5.5 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 Picture postcard depicting a painting of Gilbert Mills, Avon, N.Y. Creator An entity primarily responsible for making the resource Sterner, D. (artist) Format The file format, physical medium, or dimensions of the resource jpeg, 1.74 MB Type The nature or genre of the resource Still Image Description An account of the resource Primitive painting by D. Sterner provides a nineteenth-century view of Gilbert Mills on North Avon Rd. in the town of Avon, N.Y. The grist mill, built in 1808, and other buildings on the property were purchased in the 1950s and renovated and restored as living space. Publisher An entity responsible for making the resource available Rochester, N.Y.: Baldwin Graphics Date A point or period of time associated with an event in the lifecycle of the resource Unknown Source A related resource from which the described resource is derived [Post card albums of the Genesee Region, N.Y.] Genesee Valley Historical Collection Milne Library, SUNY Geneseo GENESEE VALLEY Grist Milling mills https://openvalley.org/files/original/cd241b50dc3fe022ed898261dc982e4e.jpg 48cf5fa62ea5eb503fbc7e42892d065a https://openvalley.org/files/original/5e2364f13f2f45d05f1f6f022f0ca12f.jpg c74fead5865a212b8ec08f39370b4523 https://openvalley.org/files/original/b8a7f1a05fd2374f9089e14e5e1f4bfb.jpg 1cff5d54866566ed26eba545946b2ba9 https://openvalley.org/files/original/d349a795d7fe52284baaffed43668fa7.jpg 54729dede75ac6934bf74d599be67d4f https://openvalley.org/files/original/5599a6aebcbb317bdd420d5fceef3554.jpg 834c04c7961dc9c1d8722ecb0a7abb5c https://openvalley.org/files/original/0c9eb3a9453c22a2540325bc74b41c61.jpg 7bb68c7b7d9f84eaaf94774a9b4da55e https://openvalley.org/files/original/ed85f413f34ee76caced53c9f07a93fa.jpg 4270902a93c126f063b96d7117327fc0 https://openvalley.org/files/original/a9567053b35e80ab25eee7fec7fc9b28.jpg 65354fcafc2311ab049d20ee50dd45dc https://openvalley.org/files/original/4416fe28c45c66be33d2c26a0f375e54.jpg 2695ed92ebbc6a70537b8581a3e70597 https://openvalley.org/files/original/10ed7e139ca6fd5292dfeeb16e08b610.jpg e9e57931b281a7a21df47fe1e8d3f343 https://openvalley.org/files/original/e12f6e33bb8a2622e56e47e422fca9c5.jpg 8b79b8631f27be244a532ed2a3348bfe 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 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 Picture-taking in Letchworth State Park Description An account of the resource Part of Kodak's "picture-taking spot" series, tourist map identifies twenty scenic viewpoints for visitors, each of which was marked with an on-site marker. Often, there are explicit instructions as to composition: "When you photograph falls, include bridge in foreground. Ask friends or family to stand on bridge." This item consists of the two sides of brochure, along with separate files for nine photographs appearing therein. Date A point or period of time associated with an event in the lifecycle of the resource 1967-08 Contributor An entity responsible for making contributions to the resource Rounding, Jessica Foley, William Source A related resource from which the described resource is derived Courtesy William Pryor Letchworth Museum Format The file format, physical medium, or dimensions of the resource jpeg, 1 MB jpeg, 769 KB jpeg, 206 KB jpeg, 569 KB jpeg, 126 KB jpeg, 137 KB jpeg, 160 KB jpeg, 174 KB jpeg, 121 KB jpeg, 87 KB jpeg, 178 KB Type The nature or genre of the resource Tourist map Creator An entity primarily responsible for making the resource Eastman Kodak Company Kodak Map Viewpoints William Pryor Letchworth https://openvalley.org/files/original/ac1c8d2e4f39886bf344074b561704b5.JPG 91053b9693560d0387da3f89b5193f70 https://openvalley.org/files/original/b4923f7a053c137af3e3c28fc3b66b5c.JPG 0f1b24c40520e731be1593f491c9c56f https://openvalley.org/files/original/9355920864d6de60a90e9536f1c7c007.JPG 2914674a74c56ebdd97c79adfba931de Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Digital photograph of carved wood 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 Piece of wood Description An account of the resource An oddly shaped piece of wood that was once connected to a well-carved wooden moose head. It is varnished and stained pine with a rusty nail sticking out of it. This piece of wood led to the discovery of its creator Jacob Wawatie (1956-2016), who was an Algonquin educator in Canada. Three views of the objects are included. Creator An entity primarily responsible for making the resource Wawatie, Jacob (sculptor) Dignan, Cecilia (photograph) Publisher An entity responsible for making the resource available Geneseo Migrant Center Date A point or period of time associated with an event in the lifecycle of the resource 2023-11-15 Contributor An entity responsible for making contributions to the resource Dignan, Cecilia Format The file format, physical medium, or dimensions of the resource jpeg, 534 KB jpeg, 470 KB jpeg, 471 KB Type The nature or genre of the resource Still image Source A related resource from which the described resource is derived Creative Artists Migrant Program Services collection, Genesee Valley Council on the Arts Algonquin Canada Geneseo Migrant Center Jacob Wawatie https://openvalley.org/files/original/dd8282dac2411a92b40b8fb2aa94b99d.jpg 205e6353ff6f7cc400bc7dcef073c719 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 Physical Dimensions The actual physical size of the original image 14.5 x 21 in. Condition: surface dirt, colors 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 Pink Cloister 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 1937-08-24 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 #FA18159 Format The file format, physical medium, or dimensions of the resource jpeg, 680 KB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 069 Description An account of the resource With the exception of this watercolor's foreground, much of Gaige's composition relies on evocative applications of color hovering above negative space (particularly at upper right). Exotic greenery is set against a carefully penciled arch, while a line of red bricks crosses through the foliage as an undercurrent. 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. Donald G. Taggart, History of the Third Infantry Division In World War II (Infantry Journal Press, 1947). Federal Art Project New Deal Gallery painting Richard T. Gaige https://openvalley.org/files/original/96e100fce99b65a137ab7054613f10e0.jpg 99277261638260e811c57776a0b3dfa9 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Digital photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pioneer Cemetery, Letchworth State Park Description An account of the resource Small plot comprised early settlers' graves, some of which originally were located on the south lawn of the Glen Iris Inn and relocated by William Pryor Letchworth. Creator An entity primarily responsible for making the resource Cooper, Ken Date A point or period of time associated with an event in the lifecycle of the resource 2016-05-06 Contributor An entity responsible for making contributions to the resource Cooper, Ken Format The file format, physical medium, or dimensions of the resource jpeg, 722 KB Type The nature or genre of the resource Digital photograph cemetery Letchworth State Park William Pryor Letchworth https://openvalley.org/files/original/b9a8a1b79a6a043733e20f45605d0491.jpg 5a3525773982c4948d764b9cfc34e306 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data oil on canvas Physical Dimensions The actual physical size of the original image 30 x 24 in. Condition: canvas dented, surface dirt, canvas torn 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 Pirates Haul Description An account of the resource This painting depicts a seascape scene in muted tones, its background a washed-out, cloudy sky with a blurred ship in the distance. The middle ground consists of a pastel-toned rocky bank and sea. In the foreground, four men are docked in a small rowboat: two are wearing red bandanas, two have oars in action, one man is holding a wooden chest. The person that is the closest and the most in focus, presumably their captain, is standing on shore with tools, two guns, and rope at his feet. It would seem that they're preparing to bury treasure for contemporary viewers to find. About the Artist: Born in Naples, Italy, Arcamonte stated his occupation as that of “decorator” when he immigrated to the US in 1906. That trade seems to have persisted alongside his aspirations as a painter, for many years in New York and then after World War II in Miami, FL. In 1937 his paintings were exhibited at the Opportunity Center, a program connecting artists “to the art collector of modern means and undertakes to produce works to fit special requirements” (New York Evening Post 5 June 1937: 7). 1 painting at <a href="https://godwinternbach.pastperfectonline.com/webobject/331640B8-9FDB-443A-81C5-554982521035" target="_blank" rel="noopener">Godwin-Ternbach Museum</a>. 2 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-1-folder-30" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Arcamonte, Humbert, 1883-1967 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 Ritz, Abigail (photography) VanOstrand, Ravenna (biography) Cooper, Ken (biography) Ken Cooper (biographer) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #: FA18098 Format The file format, physical medium, or dimensions of the resource jpeg, 806 KB Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 008 Federal Art Project Humbert Arcamonte New Deal Gallery Oil on Canvas painting seascape https://openvalley.org/files/original/85d3a8e683420b6e8d67625628d8fbad.jpg 9a1c442fc8baf2c61c8fdb9567514c5c https://openvalley.org/files/original/87c90dd80f84dfb66c1e342c4417bfb5.jpg 85343f9cd739054f040ad9fdf8dc3202 https://openvalley.org/files/original/36a59eddbe0f70c3a935f2f844d9900f.jpg 650f1b329c0aaa552b73d741555056e4 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 Place & Foote, General Store Description An account of the resource Number 39 on the Burleigh map, this business dated its establishment to 1817 by John McKenley. After passing through the Brown and then the Burgess families, Charles A. Place (1869-1937) and James C. Foote (1867-1939) purchased the firm in 1891. Beyond the usual range of clothing, food, and domestic goods the store was noted for its "most attractive articles in the way of fancy good" (Caledonia Advertiser 10 Jan. 1895). Publisher An entity responsible for making the resource available Caledonia Advertiser Date A point or period of time associated with an event in the lifecycle of the resource 1. 1894-03-23 2. 1893-08-10 Contributor An entity responsible for making contributions to the resource Cooper, Ken Format The file format, physical medium, or dimensions of the resource 1. jpeg, 343 KB 2. jpeg, 302 KB Source A related resource from which the described resource is derived Courtesy of Tom Tryniski / Fulton History Burleigh Litho Co Caledonia, NY Charles A. Place General Store James C. Foote Place & Foote https://openvalley.org/files/original/f2fb6cb2811babfee873eaea5f6ebac5.jpg c72e3a1c641df5d8eab46fa466a6ba4e https://openvalley.org/files/original/6ad6203d35c949daca1ed56b614805e1.jpg ee954f30a1f7a1e558ffe719fcd7d469 https://openvalley.org/files/original/259a33d449f8126295681355700b39a3.jpg ffcb1833f280f33c42eda37195824598 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 Planing Mill, Lumber & Coal, W.J. Williams, Prop. Description An account of the resource Number 46 on the Burleigh map, this longstanding establishment dates from 1864 (when Williams went into business with Thomas G. Edgar) on through his sole proprietorship beginning in 1879 to his eventual sale of the firm in 1902 to DeLancey A. Cameron. The range of Williams' business was considerable: he ran a planing mill; he manufactured sashes, doors, and blinds; he was Caledonia's largest dealer in coal. A profile in the Caledonia "Advertiser" held that his business "has always been conducted on principles of pure mercantile integrity, which has given the business a reputation and standing and gained for it the confidence of the entire community" (17 Jan. 1893). In his personal life, Williams was a long-time member (and Superintendent) of the First Presbyterian Church before changing his affiliation to the United Presbyterian church in 1881. Along with his work for the Caledonia school board, it was claimed that "no man in Livingston county, has done more to help the poorer classes secure homes of their own." Due to the primarily commercial, not retail, nature of his business there are no known advertisements for or logos of Williams' operation. These images date to the ownerships of DeLancey Cameron (1902) and William Henderson & HD Smith (1908). Publisher An entity responsible for making the resource available Caledonia Era Date A point or period of time associated with an event in the lifecycle of the resource 1. 1902-06-10 2-3. 1908-04-22 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, 240 KB 2. jpeg, 353 KB 3. jpeg, 106 KB Burleigh Litho Co Caledonia, NY Coal Mill W.J. Williams https://openvalley.org/files/original/db07c68ff6d52b2af1180842b30f0b77.JPG 2de69cb67b635b7ccbf91fec5f005c50 https://openvalley.org/files/original/c8b2202e9851411149337ffff21dc99d.JPG eee4fb5912a9a5bd5b11665b20b39e71 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 30 x 36 in. Condition: spotted 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 Playtime Format The file format, physical medium, or dimensions of the resource jpeg, 1 MB jpeg, 13.2 MB Description An account of the resource In subject matter if not in style, there are resemblances between this painting and Georges Seurat’s famous <a href="https://www.artic.edu/artworks/27992/a-sunday-on-la-grande-jatte-1884">A Sunday on La Grande Jatte — 1884</a>, but even more so William Blake’s <a href="https://en.wikipedia.org/wiki/The_Echoing_Green">“The Echoing Green.”</a> Here the spirit seems exuberant as the painting's colored ballons, due perhaps to its “American” setting and youthful subjects. A gently sloping parkland ends alongside a pond occupied by a pair of swans, delighting a young child tended by a watchful nurse. Boys and girls of all ages manifest their play at different stages of childhood, save for two pensive young women: one looks out across the water toward adulthood, the other muses upon the hill. About the Artist: Born in Shelbyville, IN, Ross was the son of German immigrants. He studied with <a href="https://en.wikipedia.org/wiki/William_Forsyth_(artist)" target="_blank" rel="noopener">William Forsyth</a>—part of the so-called “Hoosier Group” of painters—then moved to New York in 1905 after receiving a scholarship to study at the Art Students League. By 1911 he had relocated to Paris, working at Académie Julian with <a href="https://en.wikipedia.org/wiki/Richard_E._Miller" target="_blank" rel="noopener">Richard E. Miller</a> and <a href="https://en.wikipedia.org/wiki/William-Adolphe_Bouguereau" target="_blank" rel="noopener">William-Adolphe Bouguereau</a> at Académie de la Grande Chaumière. Returning to the US ahead of the Great War, Ross located near Washington Square and produced a combination of paintings, privately commissioned <a href="https://babel.hathitrust.org/cgi/pt?id=mdp.39015082310932;view=1up;seq=434;size=150" target="_blank" rel="noopener">murals</a>, and commercial illustration. In 1935 for the Treasury Relief Art Project, Ross installed a massive, <a href="https://www.indstate.edu/business/artworks/magna-carta" target="_blank" rel="noopener">20’ x 20’ painted mural</a> in the Terre Haute, IN courtroom depicting the signing of England’s Magna Carta. First displayed at the Vanderbilt Gallery in New York, the work was praised for the “gay medieval trappings of the nobles and their retainers” while maintaining, for the purposes of a courtroom, a “treatment most dignified and conservative throughout” (New York Sun 28 June 1934: 24). His “Playtime” painting at NDG borrows from murals their organization of bodies in space and a sense of event, even pageantry. In later years Ross became a devout Catholic and painted several more church murals (Pierce). 11 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-19-folder-40" target="_blank" rel="noopener">FAP</a>. Sources Consulted: Mary Anne Pierce, “U.S. District Court Mural Arouses Curiosity Here,” Terre Haute Tribune 19 Mar. 1972: 26; “Brings Back Work He Painted Abroad,” Indianapolis Star 11 Feb. 1912: 32. Creator An entity primarily responsible for making the resource Ross, Frederick Webb, 1885-1964 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 1937-04-12 Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18256 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 163 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Cooper, Ken (biography) Federal Art Project Fred Ross New Deal Gallery painting