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This image is from a page of the April 1929 issue of Aero Digest, a professional periodical covering the aircraft industry. The article focuses on the economy of the growing air transportation industry and Kansas City's potential to be the next "air metropolis". The article shows via a graphic representation that Kansas City's central location within the country gives it an advantage in the industry by being the "hub of vast areas". The image shows small planes radiating out from Kansas City to others all over the country.

This reproduction of the September 7th, 1940 Liberty magazine cover was an ode to Kansas City's booming economy. As the poster notes, major changes in Kansas City were afoot with a political "clean-up". In the background of the poster is the old Municipal Stadium where minor league Kansas City Blues played. The iconic overhangs tower above a packed stadium. In the central foreground, a larger-than-life woman dressed in a baseball uniform applies lipstick before stepping up to the plate to bat.

This map features a growing section of Wyandotte County in Kansas in 1869. Above the crux of the Kaw and Missouri Rivers lies the beginnings of a grid development across the land beyond. Amongst the dwellings, significant buildings are numbered and referred to in the ornate legend at the bottom of the map. Listed from 1-10 are the Court House, Public School, Dunnings Hall, Asylum for the Blind, U.R.R. W. Depot, Cemetary, and then the Congregational, Catholic, Episcopal, German and South Methodist, and North Methodist Episcopal churches.

George Wright was a British painter of coaching and hunting scenes. He was the elder brother of Gilbert Scott Wright. Mainly a self-taught artist, he worked with his younger brother until 1925 and during that time their combined work was frequently reproduced on calendars. Wright lived for some time in Rugby and Oxford before moving to Richmond in Surrey in 1929 and later he chose to retire to Seaford in Sussex, where he remained until his death in 1942.

George Morland, born on June 26th, 1763 in London, was an English painter, best known for his rustic scenes of farming, hunting, smugglers, gypsies and his rich, textured landscapes. Morland's most popular works were painted specifically for the print trade. This scene of a cosy middle-class ease is set in Ranelagh Gardens where the public could take tea after an afternoon's walk. Its companion 'St James's Park' (Mellon collection) shows a similar family drinking the milk that could be bought by promenaders on the Mall.

Corita Kent joined the Order of the Immaculate Heart of Mary in 1936 and became Sister Mary Corita. She spent much of her life working for the church and began making and teaching art in the 1940s. Her serigraph and screen prints became popular in the 1960s and 1970s when she began using popular culture and the backdrop for faith-based themes. In this particular print, Kent uses a popular soda brand, Sunkist, to advance the message "two men called John were sent by God" broken up and encapsulated by two limes. Four lemons line the bottom border.

This print is an architectural drawing of Grace Church, a Catholic church designed by architectural firm James and James. This drawing was an entry for the 1887 design competition for the church, although the entry chosen was Frederick Elmer Hill's, an architect in the New York firm McKim, Mead & White, and exists in Kansas City on 13th St. Beneath the architect's names in the bottom right-hand corner features the Latin phrase "IN HOC SIGNO VINCES" which translates to "In this sign thou shalt conquer".

This print is an architectural drawing of Grace Church, a Catholic church designed by architectural firm James and James. This drawing was an entry for the 1887 design competition for the church, although the entry chosen was Frederick Elmer Hill's, an architect in the New York firm McKim, Mead & White, and exists in Kansas City on 13th St. Beneath the architect's names in the bottom right-hand corner features the Latin phrase "IN HOC SIGNO VINCES" which translates to "In this sign thou shalt conquer".

A laminate poster print of a depiction located in the American Architect & Building News periodical number 556. This print is a color copy of an pen and ink illustration, featuring the office building of Nathaniel Thayer, with a copyright date of 1886. This plan drawing features a five story Beaux-Arts style building, each floor contains multiple rows of windows, the bottom floor appears to be a shop level. The fourth floor contains two arches with three windows apiece. An oriel window is located on the third and fourth floor above the left entry door.

This print of an architectural drawing depicts the U.S. Post Office in Kansas City, Kansas, designed by architects James, Knox, and Taylor. The building type is monumental with massive arched windows and a slight canting out at the base of the building. The roof is minimized and replaced by a rectangularity uniform to the rest of the building, which emphasizes the massive quality. The scene is set before the issue's date, indicated by the dress of the figures and the date on the building, MDCCCI, 1801.

This cover of the American Architect and Building News periodical features the Suburban Belt Line Depot in Kansas City, Missouri, designed by architect H.C. Lindsly. The structure shown was originally rendered in pen and ink and watercolor. The integration of sketched lines, calculated detail, and imaginative coloring show off the architectural qualities while also conveying the structure's potential in space. The building was styled in a Victorian/Renaissance Revival style with a series of monumental towers topped by pyramidal roofs.

The print "Amish Country" is of an original painting by the artist of a young Amish girl holding a white cat. She appears uncertain, if not upset, clutching the cat for comfort. Noël's website speaks to the impact of her Amish series with "Sensitive portraits of animals and Amish children made Noel a household name. The intimacy of the Amish children portrayed is not seen in mainstreamed American culture" (nanoel.com/artist). One is reminded of the raw emotional qualities that characterize children everywhere, in every community.

A reproduction print of an architectural pencil sketch of a skyscraper with Gothic features. The drawing was reproduced from the Alfred E. Barnes Jr . Architectural Collection. Artist initials are listed as EMO in the lower right corner of the work. Additional text from the original sketch reads "HOIT PRICE & BARNES ARCHTS" and "Reproduced from the Alfred E. Barnes, Jr. Arcitectural Collection (KC004), Western Historical Manuscript Collection- Kansas City." The print is produced on textured paper.

Below the blue and yellow printed "Kansas City" across the top of this piece is a synopsis of the city's most notable architectural monuments by 1981. Some are still standing and some have since been demolished, but altogether they compile a history of the city with major monuments enlarged along the border of the print and smaller notations nearer the center. At the center is a pen and ink artist's representation of the city's north-south axis that is flattened with the major monuments branching off of it.

Below the orange and yellow printed "Kansas City" across the top of this piece is a synopsis of the city's most notable architectural monuments by 1981. Some are still standing and some have since been demolished, but altogether they compile a history of the city with major monuments enlarged along the border of the print and smaller notations nearer the center. At the center is a pen and ink artist's representation of the city's north-south axis that is flattened with the major monuments branching off of it.

This piece envelops its viewer in a warm and breezy day along a quiet, coastal beach. What appears at first as pleasing striations of blue and yellow with a curious shape up top develop into a beach scene with the familiar kite undulating in the wind. Ironically, the kite looks quite like a royal blue tang (Paracanthurus hepatus), a common marine fish one can imagine being in the water below. Painterly strokes suggest the change in blue hues in the water and sky alike while slashes of yellow and black near the center signify the beach.

Keith Mallett, born on October 7, 1948, is an American multi-disciplined artist. Mallett's is an experienced painter, etcher and ceramic artist. Mallett's subject matter ranges from figurative to still life and abstracts. "Beloved" has all the hallmarks of Mallett's figurative work. Here a mother cradles a child to her bosom, as she gazes down lovingly on her infant. The child is swaddled in a brightly colored floral print, with predominant colors of red, green, orange and yellow. The white background accentuates and defines the figures in the foreground.

The Punch Magazine, or London Charavari, was a satirical British weekly magazine, established in 1841. This large scale reproduction depicts a caricature of an American Bull, mapped out into marketable cuts of meat, tossing a British butcher into the air. A knife sharpener and current prices of meat are splayed out around the butcher.

This print of John Singer Sargent's "Carnation, Lily, Lily, Rose" depicts two young girls lighting lanterns amongst a haze of flowers. This was one of the few paintings Sargent made outdoors in the Impressionist style and it had a unique production technique as a result. In order to capture the right lighting, Sargent was only able to work a few minutes each evening before which he would set up all of his materials, place his models, and then paint for the few minutes he could.

"Sublime spirit! Vast and profound genius! Divine being! Accept the homage of my weak talents...Oh, Newton!" With these words, French architect and designer Étienne-Louis Boullée dedicated his design for an imaginary cenotaph (empty tomb) in honor of the English physicist Sir Isaac Newton (1642-1727). Like many intellectuals of his day, Boullée was fascinated by Newtonian physics.

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