{"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1908\u0026f%5Blevel%5D%5B%5D=Collection\u0026page=37","prev":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1908\u0026f%5Blevel%5D%5B%5D=Collection\u0026page=36","next":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1908\u0026f%5Blevel%5D%5B%5D=Collection\u0026page=38","last":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1908\u0026f%5Blevel%5D%5B%5D=Collection\u0026page=48"},"meta":{"pages":{"current_page":37,"next_page":38,"prev_page":36,"total_pages":48,"limit_value":10,"offset_value":360,"total_count":478,"first_page?":false,"last_page?":false}},"data":[{"id":"18ce43a3c782b797db9fa781","type":"collection","attributes":{"title":"Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/18ce43a3c782b797db9fa781#abstract_or_scope","type":"document_value","attributes":{"value":["\u003cp\u003eLantern slides have their origins in optical projection devices dating to the seventeenth century, yet their widespread use did not begin until after the advent of the wet collodion photographic process by Frederick Scott Archer in the late 1840s. As the nineteenth century progressed, lantern slides with photographic images quickly became popular forms of public and private education and entertainment.\u003c/p\u003e"],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/18ce43a3c782b797db9fa781#breadcrumbs","type":"document_value","attributes":{"value":[{"id":"18ce43a3c782b797db9fa781","title_ssm":["Photographic lantern slide collection"],"title_tesim":["Photographic lantern slide collection"],"ead_ssi":"18ce43a3c782b797db9fa781","unitdate_ssm":["1902-1929","Date acquired: 00/00/1995"],"unitdate_inclusive_ssm":["1902-1929"],"unitdate_other_ssim":["Date acquired: 00/00/1995"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS-1995-06","/repositories/2/resources/391"],"text":["MS-1995-06","/repositories/2/resources/391","Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Lantern slides","Fragile materials served by appointment. Gloves required.","Five lantern slides measuring 1.75\" by 6.75\" donated to USF Special Collections on August 23, 2023.","The slides have been issued inventory numbers; for item level description see printed document with the collection.","The history of the lantern slide has its origins in seventeenth-century optical viewing devices which came to be known as \"magic lanterns\". The earliest slides for magic lanterns consisted of hand-painted images on glass, projected by itinerant showmen to amuse their audiences. In 1849, about ten years after the invention of photography, lantern slides began to be produced photographically.  Rapid improvements in photographic reproduction methods and more effective projection illuminants sparked the increased popularization of magic lantern slides."," \nIn the United States, magic lantern shows were especially popular in formal education settings. From the 1850s, following the lead of the Philadelphia-based Langenheim Brothers, a growing number of slide manufacturers retained stock collections of negatives from which lantern slides could be produced, assembled into thematic boxed sets, and sold to consumers, including universities, companies, clubs and other social organizations."," \nThe vast majority of these commercial lantern slides were black-and-white positive images, created with the wet collodion or a dry gelatine process. Slide lantern photographers made either \"contact\" or \"reduction\" prints. They made contact prints by placing a negative over a piece of light-sensitive lantern glass and then developing the image by exposure under controlled light. For a reduction print, the photographer affixed the negative to a window with a clear view, and photographed the illuminated negative directly onto the light-senstive lantern glass with a camera. After the completion of the photographic process, slide makers often affixed a paper border to the lantern glass, covered it with a clear piece of protective glass, and then bound the glass \"sandwich\" together with tape. The paper borders often bore printed identification of the commercial studio. Less frequently, manufacturers employed professional colorists to apply pigment washes to the lantern glass image prior to labeling and binding."," \nIn the 1930s and 1940s, less expensive film-based transparencies replaced glass lantern slides.  Commercial glass lantern slide firms and photographic studios disappeared or adapted to the new medium of 35 mm slides. [1] John Barnes. Catalogue of the Collection. Part 2: Optical Projection, The History of the Magic Lantern from the 17th to the 20th Century (St. Ives, Cornwall: Barnes Museum of Cinematography, 1970), 27-29. [2] Elizabeth Shepard. \"The Magic Lantern Slide in Entertainment and Education, 1860-1920.\" History of Photography 11: 2 (April-June 1987), 91. [3] Paul N. Hasluck. Optical Lanterns and Accessories: How to Make and Manage Them, Including Instructions on Making Slides (London: Cassell \u0026 Company, Ltd., 1901), 133-139.","published","Lantern slides have their origins in optical projection devices dating to the seventeenth century, yet their widespread use did not begin until after the advent of the wet collodion photographic process by Frederick Scott Archer in the late 1840s. As the nineteenth century progressed, lantern slides with photographic images quickly became popular forms of public and private education and entertainment.","The Photographic Lantern Slide collection is a source of visual imagery that spans the world in historical, architectural, cultural and agricultural subjects.  It represents one of the most popular categories of lantern slides, travel destinations.  It is international in scope, with scenes varying by locale, as indicated in the container listing. Many of the slides in this collection represent the sacred spaces of the Jewish, Buddhist, Christian and Muslim religions. Popular tourist destinations and historic sites are also prevalent, as are scenes of working people, housing structures, rural agriculture and transportation methods.","Documentation pertaining to this collection is limited to information affixed to the slides. Studios, manufacturers and retailers are identified on printed or handwritten labels, and some slides bear dates ranging from 1902 to 1929.  The hand colorists known as \"the Misses Griffith\" are identified on a number of slides, yet in most instances, the photographer who took the picture and the date of the negative's creation are not indicated. Nonetheless, the collection documents the products of a number of photographers, manufacturers, retailers of optical supplies and hand colorists.  The collection is especially notable for its number of hand-colored lantern slides.","The bulk of photographic lantern slides sold in the United States in the early twentieth century were black and white, products of the wet collodion or a gelatine photographic process. Hand coloring required additional skilled labor, space and tools, and delayed the mass production of the slides. Its relationship to painting on china and glass meant that women often performed the skilled labor.  Transparent oil paints, aniline dyes or watercolors were most frequently used in the process, the slides sometimes baked in an oven to set the paint layers prior to subsequent pigment applications.  While the earliest hand-colored slides required the painter's experimentation with different pigments and dyes, by the early twentieth century, paint manufacturers produced sets of colors specifically designed for slide lantern use.[url=#_ftn1][1][/url]","Once the photographic image was ready for assembly, the binders often applied a gummed opaque paper border (called a mask) to the glass negative and then topped it with a clear glass cover.  They then placed the two pieces of glass into a binding clamp and bound them together with gummed paper tape.[url=#_ftn2][2][/url]  Slides could then be individually sold or grouped into thematic sets, placed in grooved boxes, and distributed. Originally housed in the wooden boxes associated with glass negatives, the majority of the slides bearing the labels of individual manufacturers and studios, the Photographic Lantern Slide Collection is representative of such commercial sales.","In the early twentieth century, various American companies sold thematic slide lecture sets. The Keystone View Company (1892-1963), founded by the amateur photographer B.L. Singley in Meadville, Pennsylvania, was one of the largest commercial suppliers.[url=#_ftn3][3][/url] The McAllister family was another leader in the magic lantern business, establishing operations in Philadelphia by 1846 and in New York by 1866.  Trading under the name McAllister-Keller Co., Inc. from 1917, the company continued to offer lantern slides and other supplies until 1942.[url=#_ftn4][4][/url] The photographer John Duer Scott and the colorist Edward Van Altena joined forces to create a New York-based business in 1904. Riley Optical was a British company specializing in slide and lantern manufacturing, which opened a New York branch by 1895. Williams, Brown and Earle primarily sold laboratory supplies and optical equipment, but also produced lantern slide sets.","The manufacturers, retailers, photographers, studios or colorists identified in this collection are:","Beseler Lantern Slide Company, 131 East 23 rd  Street, New York","Brown and Dawson, Stamford, Connecticut","Detroit Publishing Company, Detroit, Michigan","C. H. Graves Company, Philadelphia, Pennsylvania","Misses Griffith (colorists), New York, New York","A. D. Handy, Boston, Massachusetts","Joseph Hawkes, 108 Fulton Street, New York, New York","Milton R. Holmes (photographer), Pennsylvania","W. C. Ives, New York, New York","Keystone View Company, Meadville, Pennsylvania","Chas. W. Kimble, Trenton, New Jersey","T. H. McAllister-Keller Co., Inc., New York, New York","Moore, Bond \u0026 Company, Chicago, Illinois","William Herman Rau, 1324 Chestnut Street, Philadelphia, Pennsylvania","Riley Optical, New York, New York","John Duer Scott (photographer), New York, New York","Scott and Van Altena, 59 Pearl Street, New York, New York","Underwood and Underwood, Washington, D. C.","Edward Van Altena, 71-79 West 45 th  Street, New York, New York","Williams, Brown \u0026 Earle, Inc., Philadelphia, Pennsylvania","In most instances, the maker's identification labels do not distinguish professions of the named entities, although the Misses Griffith are clearly indicated as hand colorists operating out of New York City. The street addresses listed above reflect identification printed on the commercial paper labels. In some instances, additional research revealed city or state of operation.","Slide lantern manufacturers also sold instruction manuals and mass-produced kits intended for amateur photographers, teachers, organizations, and educational institutions. Such kits included light sensitive lantern glass, clear cover glass, gummed paper masks, binding tape, and grooved wooden boxes for safe storage. Museums, schools and universities frequently created their own lantern slides for educational use. Photographic clubs emerged in American cities, offering lantern slide lectures and organizing slide exchanges. The slides in this collection that lack manufacturer, retailer or studio labels may be the products of such non-commercial endeavors.","Lantern slides created a new way to view both commercial and amateur photography. While the earliest photographic methods required an intimate viewership, the projection capabilities of the magic lantern allowed for a sizable audience. In the United States, the greatest impact of lantern slides was as a didactic tool and a form of entertainment.[url=#_ftn5][5][/url] Photographic lantern slides reached the peak of their popularity during the first third of the twentieth century, and dramatically impacted the development of animation technologies as well as visual-based education methods in fields such as anthropology, art history, and geography. As new photographic films emerged in the 1930s and 1940s, magic lantern shows became a rarity and ultimately obsolete.","[url=#_ftnref1][1][/url] John A. Tennant, ed.   The Photo-Miniature: A Magazine of Photographic Information  7:83 (Nov. 1907), 501-539.","[url=#_ftnref2][2][/url] Hasluck, 129-132.","[url=#_ftnref3][3][/url] Shepard, \"The Magic Lantern Slide,\" 105.  The company was purchased by the Mast Development Company in 1963.","[url=#_ftnref4][4][/url] David Robinson, et al., editors.   Encyclopaedia of the Magic Lantern   (London: The Magic Lantern Society, 2001),181-2.","[url=#_ftnref5][5][/url] Shepard, \"The Magic Lantern Slide,\" 91.","None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information.","USF Libraries - Tampa Special Collections","English"],"unitid_tesim":["MS-1995-06","/repositories/2/resources/391"],"normalized_date_ssm":["1902-1929, Date acquired: 00/00/1995"],"normalized_title_ssm":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995"],"collection_title_tesim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995"],"collection_ssim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"access_terms_ssm":["None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"acqinfo_ssim":["Donation"],"access_subjects_ssim":["Lantern slides"],"access_subjects_ssm":["Lantern slides"],"has_online_content_ssim":["false"],"extent_ssm":["20.23 Linear Feet","39 boxes"],"extent_tesim":["20.23 Linear Feet","39 boxes"],"date_range_isim":[1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929],"accessrestrict_html_tesm":["\u003cp\u003eFragile materials served by appointment. Gloves required.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Fragile materials served by appointment. Gloves required."],"accruals_html_tesm":["\u003cp\u003eFive lantern slides measuring 1.75\" by 6.75\" donated to USF Special Collections on August 23, 2023.\u003c/p\u003e"],"accruals_heading_ssm":["Accruals"],"accruals_tesim":["Five lantern slides measuring 1.75\" by 6.75\" donated to USF Special Collections on August 23, 2023."],"arrangement_html_tesm":["\u003cp\u003eThe slides have been issued inventory numbers; for item level description see printed document with the collection.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["The slides have been issued inventory numbers; for item level description see printed document with the collection."],"bioghist_html_tesm":["\u003cp\u003eThe history of the lantern slide has its origins in seventeenth-century optical viewing devices which came to be known as \"magic lanterns\". The earliest slides for magic lanterns consisted of hand-painted images on glass, projected by itinerant showmen to amuse their audiences. In 1849, about ten years after the invention of photography, lantern slides began to be produced photographically.  Rapid improvements in photographic reproduction methods and more effective projection illuminants sparked the increased popularization of magic lantern slides.\u003c/p\u003e\n","\u003cp\u003e \nIn the United States, magic lantern shows were especially popular in formal education settings. From the 1850s, following the lead of the Philadelphia-based Langenheim Brothers, a growing number of slide manufacturers retained stock collections of negatives from which lantern slides could be produced, assembled into thematic boxed sets, and sold to consumers, including universities, companies, clubs and other social organizations.\u003c/p\u003e\n","\u003cp\u003e \nThe vast majority of these commercial lantern slides were black-and-white positive images, created with the wet collodion or a dry gelatine process. Slide lantern photographers made either \"contact\" or \"reduction\" prints. They made contact prints by placing a negative over a piece of light-sensitive lantern glass and then developing the image by exposure under controlled light. For a reduction print, the photographer affixed the negative to a window with a clear view, and photographed the illuminated negative directly onto the light-senstive lantern glass with a camera. After the completion of the photographic process, slide makers often affixed a paper border to the lantern glass, covered it with a clear piece of protective glass, and then bound the glass \"sandwich\" together with tape. The paper borders often bore printed identification of the commercial studio. Less frequently, manufacturers employed professional colorists to apply pigment washes to the lantern glass image prior to labeling and binding.\u003c/p\u003e\n","\u003cp\u003e \nIn the 1930s and 1940s, less expensive film-based transparencies replaced glass lantern slides.  Commercial glass lantern slide firms and photographic studios disappeared or adapted to the new medium of 35 mm slides. [1] John Barnes. Catalogue of the Collection. Part 2: Optical Projection, The History of the Magic Lantern from the 17th to the 20th Century (St. Ives, Cornwall: Barnes Museum of Cinematography, 1970), 27-29. [2] Elizabeth Shepard. \"The Magic Lantern Slide in Entertainment and Education, 1860-1920.\" History of Photography 11: 2 (April-June 1987), 91. [3] Paul N. Hasluck. Optical Lanterns and Accessories: How to Make and Manage Them, Including Instructions on Making Slides (London: Cassell \u0026amp; Company, Ltd., 1901), 133-139.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["The history of the lantern slide has its origins in seventeenth-century optical viewing devices which came to be known as \"magic lanterns\". The earliest slides for magic lanterns consisted of hand-painted images on glass, projected by itinerant showmen to amuse their audiences. In 1849, about ten years after the invention of photography, lantern slides began to be produced photographically.  Rapid improvements in photographic reproduction methods and more effective projection illuminants sparked the increased popularization of magic lantern slides."," \nIn the United States, magic lantern shows were especially popular in formal education settings. From the 1850s, following the lead of the Philadelphia-based Langenheim Brothers, a growing number of slide manufacturers retained stock collections of negatives from which lantern slides could be produced, assembled into thematic boxed sets, and sold to consumers, including universities, companies, clubs and other social organizations."," \nThe vast majority of these commercial lantern slides were black-and-white positive images, created with the wet collodion or a dry gelatine process. Slide lantern photographers made either \"contact\" or \"reduction\" prints. They made contact prints by placing a negative over a piece of light-sensitive lantern glass and then developing the image by exposure under controlled light. For a reduction print, the photographer affixed the negative to a window with a clear view, and photographed the illuminated negative directly onto the light-senstive lantern glass with a camera. After the completion of the photographic process, slide makers often affixed a paper border to the lantern glass, covered it with a clear piece of protective glass, and then bound the glass \"sandwich\" together with tape. The paper borders often bore printed identification of the commercial studio. Less frequently, manufacturers employed professional colorists to apply pigment washes to the lantern glass image prior to labeling and binding."," \nIn the 1930s and 1940s, less expensive film-based transparencies replaced glass lantern slides.  Commercial glass lantern slide firms and photographic studios disappeared or adapted to the new medium of 35 mm slides. [1] John Barnes. Catalogue of the Collection. Part 2: Optical Projection, The History of the Magic Lantern from the 17th to the 20th Century (St. Ives, Cornwall: Barnes Museum of Cinematography, 1970), 27-29. [2] Elizabeth Shepard. \"The Magic Lantern Slide in Entertainment and Education, 1860-1920.\" History of Photography 11: 2 (April-June 1987), 91. [3] Paul N. Hasluck. Optical Lanterns and Accessories: How to Make and Manage Them, Including Instructions on Making Slides (London: Cassell \u0026 Company, Ltd., 1901), 133-139."],"odd_html_tesm":["\u003cp\u003epublished\u003c/p\u003e"],"odd_heading_ssm":["Other Descriptive Information"],"odd_tesim":["published"],"prefercite_html_tesm":["\u003cp\u003ePhotographic Lantern Slide Collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"prefercite_tesim":["Photographic Lantern Slide Collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"scopecontent_html_tesm":["\u003cp\u003eLantern slides have their origins in optical projection devices dating to the seventeenth century, yet their widespread use did not begin until after the advent of the wet collodion photographic process by Frederick Scott Archer in the late 1840s. As the nineteenth century progressed, lantern slides with photographic images quickly became popular forms of public and private education and entertainment.\u003c/p\u003e\n","\u003cp\u003eThe Photographic Lantern Slide collection is a source of visual imagery that spans the world in historical, architectural, cultural and agricultural subjects.  It represents one of the most popular categories of lantern slides, travel destinations.  It is international in scope, with scenes varying by locale, as indicated in the container listing. Many of the slides in this collection represent the sacred spaces of the Jewish, Buddhist, Christian and Muslim religions. Popular tourist destinations and historic sites are also prevalent, as are scenes of working people, housing structures, rural agriculture and transportation methods.\u003c/p\u003e\n","\u003cp\u003eDocumentation pertaining to this collection is limited to information affixed to the slides. Studios, manufacturers and retailers are identified on printed or handwritten labels, and some slides bear dates ranging from 1902 to 1929.  The hand colorists known as \"the Misses Griffith\" are identified on a number of slides, yet in most instances, the photographer who took the picture and the date of the negative's creation are not indicated. Nonetheless, the collection documents the products of a number of photographers, manufacturers, retailers of optical supplies and hand colorists.  The collection is especially notable for its number of hand-colored lantern slides.\u003c/p\u003e\n","\u003cp\u003eThe bulk of photographic lantern slides sold in the United States in the early twentieth century were black and white, products of the wet collodion or a gelatine photographic process. Hand coloring required additional skilled labor, space and tools, and delayed the mass production of the slides. Its relationship to painting on china and glass meant that women often performed the skilled labor.  Transparent oil paints, aniline dyes or watercolors were most frequently used in the process, the slides sometimes baked in an oven to set the paint layers prior to subsequent pigment applications.  While the earliest hand-colored slides required the painter's experimentation with different pigments and dyes, by the early twentieth century, paint manufacturers produced sets of colors specifically designed for slide lantern use.[url=#_ftn1][1][/url]\u003c/p\u003e\n","\u003cp\u003eOnce the photographic image was ready for assembly, the binders often applied a gummed opaque paper border (called a mask) to the glass negative and then topped it with a clear glass cover.  They then placed the two pieces of glass into a binding clamp and bound them together with gummed paper tape.[url=#_ftn2][2][/url]  Slides could then be individually sold or grouped into thematic sets, placed in grooved boxes, and distributed. Originally housed in the wooden boxes associated with glass negatives, the majority of the slides bearing the labels of individual manufacturers and studios, the Photographic Lantern Slide Collection is representative of such commercial sales.\u003c/p\u003e\n","\u003cp\u003eIn the early twentieth century, various American companies sold thematic slide lecture sets. The Keystone View Company (1892-1963), founded by the amateur photographer B.L. Singley in Meadville, Pennsylvania, was one of the largest commercial suppliers.[url=#_ftn3][3][/url] The McAllister family was another leader in the magic lantern business, establishing operations in Philadelphia by 1846 and in New York by 1866.  Trading under the name McAllister-Keller Co., Inc. from 1917, the company continued to offer lantern slides and other supplies until 1942.[url=#_ftn4][4][/url] The photographer John Duer Scott and the colorist Edward Van Altena joined forces to create a New York-based business in 1904. Riley Optical was a British company specializing in slide and lantern manufacturing, which opened a New York branch by 1895. Williams, Brown and Earle primarily sold laboratory supplies and optical equipment, but also produced lantern slide sets.\u003c/p\u003e\n","\u003cp\u003eThe manufacturers, retailers, photographers, studios or colorists identified in this collection are:\u003c/p\u003e\n","\u003cp\u003eBeseler Lantern Slide Company, 131 East 23\u003cemph render=\"super\"\u003erd\u003c/emph\u003e Street, New York\u003c/p\u003e\n","\u003cp\u003eBrown and Dawson, Stamford, Connecticut\u003c/p\u003e\n","\u003cp\u003eDetroit Publishing Company, Detroit, Michigan\u003c/p\u003e\n","\u003cp\u003eC. H. Graves Company, Philadelphia, Pennsylvania\u003c/p\u003e\n","\u003cp\u003eMisses Griffith (colorists), New York, New York\u003c/p\u003e\n","\u003cp\u003eA. D. Handy, Boston, Massachusetts\u003c/p\u003e\n","\u003cp\u003eJoseph Hawkes, 108 Fulton Street, New York, New York\u003c/p\u003e\n","\u003cp\u003eMilton R. Holmes (photographer), Pennsylvania\u003c/p\u003e\n","\u003cp\u003eW. C. Ives, New York, New York\u003c/p\u003e\n","\u003cp\u003eKeystone View Company, Meadville, Pennsylvania\u003c/p\u003e\n","\u003cp\u003eChas. W. Kimble, Trenton, New Jersey\u003c/p\u003e\n","\u003cp\u003eT. H. McAllister-Keller Co., Inc., New York, New York\u003c/p\u003e\n","\u003cp\u003eMoore, Bond \u0026amp; Company, Chicago, Illinois\u003c/p\u003e\n","\u003cp\u003eWilliam Herman Rau, 1324 Chestnut Street, Philadelphia, Pennsylvania\u003c/p\u003e\n","\u003cp\u003eRiley Optical, New York, New York\u003c/p\u003e\n","\u003cp\u003eJohn Duer Scott (photographer), New York, New York\u003c/p\u003e\n","\u003cp\u003eScott and Van Altena, 59 Pearl Street, New York, New York\u003c/p\u003e\n","\u003cp\u003eUnderwood and Underwood, Washington, D. C.\u003c/p\u003e\n","\u003cp\u003eEdward Van Altena, 71-79 West 45\u003cemph render=\"super\"\u003eth\u003c/emph\u003e Street, New York, New York\u003c/p\u003e\n","\u003cp\u003eWilliams, Brown \u0026amp; Earle, Inc., Philadelphia, Pennsylvania\u003c/p\u003e\n","\u003cp\u003eIn most instances, the maker's identification labels do not distinguish professions of the named entities, although the Misses Griffith are clearly indicated as hand colorists operating out of New York City. The street addresses listed above reflect identification printed on the commercial paper labels. In some instances, additional research revealed city or state of operation.\u003c/p\u003e\n","\u003cp\u003eSlide lantern manufacturers also sold instruction manuals and mass-produced kits intended for amateur photographers, teachers, organizations, and educational institutions. Such kits included light sensitive lantern glass, clear cover glass, gummed paper masks, binding tape, and grooved wooden boxes for safe storage. Museums, schools and universities frequently created their own lantern slides for educational use. Photographic clubs emerged in American cities, offering lantern slide lectures and organizing slide exchanges. The slides in this collection that lack manufacturer, retailer or studio labels may be the products of such non-commercial endeavors.\u003c/p\u003e\n","\u003cp\u003eLantern slides created a new way to view both commercial and amateur photography. While the earliest photographic methods required an intimate viewership, the projection capabilities of the magic lantern allowed for a sizable audience. In the United States, the greatest impact of lantern slides was as a didactic tool and a form of entertainment.[url=#_ftn5][5][/url] Photographic lantern slides reached the peak of their popularity during the first third of the twentieth century, and dramatically impacted the development of animation technologies as well as visual-based education methods in fields such as anthropology, art history, and geography. As new photographic films emerged in the 1930s and 1940s, magic lantern shows became a rarity and ultimately obsolete.\u003c/p\u003e\n","\u003cp\u003e[url=#_ftnref1][1][/url] John A. Tennant, ed.  \u003cemph render=\"italic\"\u003eThe Photo-Miniature: A Magazine of Photographic Information\u003c/emph\u003e 7:83 (Nov. 1907), 501-539.\u003c/p\u003e\n","\u003cp\u003e[url=#_ftnref2][2][/url] Hasluck, 129-132.\u003c/p\u003e\n","\u003cp\u003e[url=#_ftnref3][3][/url] Shepard, \"The Magic Lantern Slide,\" 105.  The company was purchased by the Mast Development Company in 1963.\u003c/p\u003e\n","\u003cp\u003e[url=#_ftnref4][4][/url] David Robinson, et al., editors.  \u003cemph render=\"italic\"\u003eEncyclopaedia of the Magic Lantern  \u003c/emph\u003e(London: The Magic Lantern Society, 2001),181-2.\u003c/p\u003e\n","\u003cp\u003e[url=#_ftnref5][5][/url] Shepard, \"The Magic Lantern Slide,\" 91.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Lantern slides have their origins in optical projection devices dating to the seventeenth century, yet their widespread use did not begin until after the advent of the wet collodion photographic process by Frederick Scott Archer in the late 1840s. As the nineteenth century progressed, lantern slides with photographic images quickly became popular forms of public and private education and entertainment.","The Photographic Lantern Slide collection is a source of visual imagery that spans the world in historical, architectural, cultural and agricultural subjects.  It represents one of the most popular categories of lantern slides, travel destinations.  It is international in scope, with scenes varying by locale, as indicated in the container listing. Many of the slides in this collection represent the sacred spaces of the Jewish, Buddhist, Christian and Muslim religions. Popular tourist destinations and historic sites are also prevalent, as are scenes of working people, housing structures, rural agriculture and transportation methods.","Documentation pertaining to this collection is limited to information affixed to the slides. Studios, manufacturers and retailers are identified on printed or handwritten labels, and some slides bear dates ranging from 1902 to 1929.  The hand colorists known as \"the Misses Griffith\" are identified on a number of slides, yet in most instances, the photographer who took the picture and the date of the negative's creation are not indicated. Nonetheless, the collection documents the products of a number of photographers, manufacturers, retailers of optical supplies and hand colorists.  The collection is especially notable for its number of hand-colored lantern slides.","The bulk of photographic lantern slides sold in the United States in the early twentieth century were black and white, products of the wet collodion or a gelatine photographic process. Hand coloring required additional skilled labor, space and tools, and delayed the mass production of the slides. Its relationship to painting on china and glass meant that women often performed the skilled labor.  Transparent oil paints, aniline dyes or watercolors were most frequently used in the process, the slides sometimes baked in an oven to set the paint layers prior to subsequent pigment applications.  While the earliest hand-colored slides required the painter's experimentation with different pigments and dyes, by the early twentieth century, paint manufacturers produced sets of colors specifically designed for slide lantern use.[url=#_ftn1][1][/url]","Once the photographic image was ready for assembly, the binders often applied a gummed opaque paper border (called a mask) to the glass negative and then topped it with a clear glass cover.  They then placed the two pieces of glass into a binding clamp and bound them together with gummed paper tape.[url=#_ftn2][2][/url]  Slides could then be individually sold or grouped into thematic sets, placed in grooved boxes, and distributed. Originally housed in the wooden boxes associated with glass negatives, the majority of the slides bearing the labels of individual manufacturers and studios, the Photographic Lantern Slide Collection is representative of such commercial sales.","In the early twentieth century, various American companies sold thematic slide lecture sets. The Keystone View Company (1892-1963), founded by the amateur photographer B.L. Singley in Meadville, Pennsylvania, was one of the largest commercial suppliers.[url=#_ftn3][3][/url] The McAllister family was another leader in the magic lantern business, establishing operations in Philadelphia by 1846 and in New York by 1866.  Trading under the name McAllister-Keller Co., Inc. from 1917, the company continued to offer lantern slides and other supplies until 1942.[url=#_ftn4][4][/url] The photographer John Duer Scott and the colorist Edward Van Altena joined forces to create a New York-based business in 1904. Riley Optical was a British company specializing in slide and lantern manufacturing, which opened a New York branch by 1895. Williams, Brown and Earle primarily sold laboratory supplies and optical equipment, but also produced lantern slide sets.","The manufacturers, retailers, photographers, studios or colorists identified in this collection are:","Beseler Lantern Slide Company, 131 East 23 rd  Street, New York","Brown and Dawson, Stamford, Connecticut","Detroit Publishing Company, Detroit, Michigan","C. H. Graves Company, Philadelphia, Pennsylvania","Misses Griffith (colorists), New York, New York","A. D. Handy, Boston, Massachusetts","Joseph Hawkes, 108 Fulton Street, New York, New York","Milton R. Holmes (photographer), Pennsylvania","W. C. Ives, New York, New York","Keystone View Company, Meadville, Pennsylvania","Chas. W. Kimble, Trenton, New Jersey","T. H. McAllister-Keller Co., Inc., New York, New York","Moore, Bond \u0026 Company, Chicago, Illinois","William Herman Rau, 1324 Chestnut Street, Philadelphia, Pennsylvania","Riley Optical, New York, New York","John Duer Scott (photographer), New York, New York","Scott and Van Altena, 59 Pearl Street, New York, New York","Underwood and Underwood, Washington, D. C.","Edward Van Altena, 71-79 West 45 th  Street, New York, New York","Williams, Brown \u0026 Earle, Inc., Philadelphia, Pennsylvania","In most instances, the maker's identification labels do not distinguish professions of the named entities, although the Misses Griffith are clearly indicated as hand colorists operating out of New York City. The street addresses listed above reflect identification printed on the commercial paper labels. In some instances, additional research revealed city or state of operation.","Slide lantern manufacturers also sold instruction manuals and mass-produced kits intended for amateur photographers, teachers, organizations, and educational institutions. Such kits included light sensitive lantern glass, clear cover glass, gummed paper masks, binding tape, and grooved wooden boxes for safe storage. Museums, schools and universities frequently created their own lantern slides for educational use. Photographic clubs emerged in American cities, offering lantern slide lectures and organizing slide exchanges. The slides in this collection that lack manufacturer, retailer or studio labels may be the products of such non-commercial endeavors.","Lantern slides created a new way to view both commercial and amateur photography. While the earliest photographic methods required an intimate viewership, the projection capabilities of the magic lantern allowed for a sizable audience. In the United States, the greatest impact of lantern slides was as a didactic tool and a form of entertainment.[url=#_ftn5][5][/url] Photographic lantern slides reached the peak of their popularity during the first third of the twentieth century, and dramatically impacted the development of animation technologies as well as visual-based education methods in fields such as anthropology, art history, and geography. As new photographic films emerged in the 1930s and 1940s, magic lantern shows became a rarity and ultimately obsolete.","[url=#_ftnref1][1][/url] John A. Tennant, ed.   The Photo-Miniature: A Magazine of Photographic Information  7:83 (Nov. 1907), 501-539.","[url=#_ftnref2][2][/url] Hasluck, 129-132.","[url=#_ftnref3][3][/url] Shepard, \"The Magic Lantern Slide,\" 105.  The company was purchased by the Mast Development Company in 1963.","[url=#_ftnref4][4][/url] David Robinson, et al., editors.   Encyclopaedia of the Magic Lantern   (London: The Magic Lantern Society, 2001),181-2.","[url=#_ftnref5][5][/url] Shepard, \"The Magic Lantern Slide,\" 91."],"userestrict_html_tesm":["\u003cp\u003eNone.\u0026#xA0;The contents of the collection may be subject to copyright.\u0026#xA0; Visit the United States Copyright Office's website at \u003cextref href=\"http://www.copyright.gov/\"\u003ehttp://www.copyright.gov/\u003c/extref\u003e for more information.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"names_ssim":["USF Libraries - Tampa Special Collections"],"corpname_ssim":["USF Libraries - Tampa Special Collections"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":2479,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"18ce43a3c782b797db9fa781","timestamp":"2026-06-19T03:16:57.188Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"18ce43a3c782b797db9fa781","title_ssm":["Photographic lantern slide collection"],"title_tesim":["Photographic lantern slide collection"],"ead_ssi":"18ce43a3c782b797db9fa781","unitdate_ssm":["1902-1929","Date acquired: 00/00/1995"],"unitdate_inclusive_ssm":["1902-1929"],"unitdate_other_ssim":["Date acquired: 00/00/1995"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS-1995-06","/repositories/2/resources/391"],"text":["MS-1995-06","/repositories/2/resources/391","Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Lantern slides","Fragile materials served by appointment. Gloves required.","Five lantern slides measuring 1.75\" by 6.75\" donated to USF Special Collections on August 23, 2023.","The slides have been issued inventory numbers; for item level description see printed document with the collection.","The history of the lantern slide has its origins in seventeenth-century optical viewing devices which came to be known as \"magic lanterns\". The earliest slides for magic lanterns consisted of hand-painted images on glass, projected by itinerant showmen to amuse their audiences. In 1849, about ten years after the invention of photography, lantern slides began to be produced photographically.  Rapid improvements in photographic reproduction methods and more effective projection illuminants sparked the increased popularization of magic lantern slides."," \nIn the United States, magic lantern shows were especially popular in formal education settings. From the 1850s, following the lead of the Philadelphia-based Langenheim Brothers, a growing number of slide manufacturers retained stock collections of negatives from which lantern slides could be produced, assembled into thematic boxed sets, and sold to consumers, including universities, companies, clubs and other social organizations."," \nThe vast majority of these commercial lantern slides were black-and-white positive images, created with the wet collodion or a dry gelatine process. Slide lantern photographers made either \"contact\" or \"reduction\" prints. They made contact prints by placing a negative over a piece of light-sensitive lantern glass and then developing the image by exposure under controlled light. For a reduction print, the photographer affixed the negative to a window with a clear view, and photographed the illuminated negative directly onto the light-senstive lantern glass with a camera. After the completion of the photographic process, slide makers often affixed a paper border to the lantern glass, covered it with a clear piece of protective glass, and then bound the glass \"sandwich\" together with tape. The paper borders often bore printed identification of the commercial studio. Less frequently, manufacturers employed professional colorists to apply pigment washes to the lantern glass image prior to labeling and binding."," \nIn the 1930s and 1940s, less expensive film-based transparencies replaced glass lantern slides.  Commercial glass lantern slide firms and photographic studios disappeared or adapted to the new medium of 35 mm slides. [1] John Barnes. Catalogue of the Collection. Part 2: Optical Projection, The History of the Magic Lantern from the 17th to the 20th Century (St. Ives, Cornwall: Barnes Museum of Cinematography, 1970), 27-29. [2] Elizabeth Shepard. \"The Magic Lantern Slide in Entertainment and Education, 1860-1920.\" History of Photography 11: 2 (April-June 1987), 91. [3] Paul N. Hasluck. Optical Lanterns and Accessories: How to Make and Manage Them, Including Instructions on Making Slides (London: Cassell \u0026 Company, Ltd., 1901), 133-139.","published","Lantern slides have their origins in optical projection devices dating to the seventeenth century, yet their widespread use did not begin until after the advent of the wet collodion photographic process by Frederick Scott Archer in the late 1840s. As the nineteenth century progressed, lantern slides with photographic images quickly became popular forms of public and private education and entertainment.","The Photographic Lantern Slide collection is a source of visual imagery that spans the world in historical, architectural, cultural and agricultural subjects.  It represents one of the most popular categories of lantern slides, travel destinations.  It is international in scope, with scenes varying by locale, as indicated in the container listing. Many of the slides in this collection represent the sacred spaces of the Jewish, Buddhist, Christian and Muslim religions. Popular tourist destinations and historic sites are also prevalent, as are scenes of working people, housing structures, rural agriculture and transportation methods.","Documentation pertaining to this collection is limited to information affixed to the slides. Studios, manufacturers and retailers are identified on printed or handwritten labels, and some slides bear dates ranging from 1902 to 1929.  The hand colorists known as \"the Misses Griffith\" are identified on a number of slides, yet in most instances, the photographer who took the picture and the date of the negative's creation are not indicated. Nonetheless, the collection documents the products of a number of photographers, manufacturers, retailers of optical supplies and hand colorists.  The collection is especially notable for its number of hand-colored lantern slides.","The bulk of photographic lantern slides sold in the United States in the early twentieth century were black and white, products of the wet collodion or a gelatine photographic process. Hand coloring required additional skilled labor, space and tools, and delayed the mass production of the slides. Its relationship to painting on china and glass meant that women often performed the skilled labor.  Transparent oil paints, aniline dyes or watercolors were most frequently used in the process, the slides sometimes baked in an oven to set the paint layers prior to subsequent pigment applications.  While the earliest hand-colored slides required the painter's experimentation with different pigments and dyes, by the early twentieth century, paint manufacturers produced sets of colors specifically designed for slide lantern use.[url=#_ftn1][1][/url]","Once the photographic image was ready for assembly, the binders often applied a gummed opaque paper border (called a mask) to the glass negative and then topped it with a clear glass cover.  They then placed the two pieces of glass into a binding clamp and bound them together with gummed paper tape.[url=#_ftn2][2][/url]  Slides could then be individually sold or grouped into thematic sets, placed in grooved boxes, and distributed. Originally housed in the wooden boxes associated with glass negatives, the majority of the slides bearing the labels of individual manufacturers and studios, the Photographic Lantern Slide Collection is representative of such commercial sales.","In the early twentieth century, various American companies sold thematic slide lecture sets. The Keystone View Company (1892-1963), founded by the amateur photographer B.L. Singley in Meadville, Pennsylvania, was one of the largest commercial suppliers.[url=#_ftn3][3][/url] The McAllister family was another leader in the magic lantern business, establishing operations in Philadelphia by 1846 and in New York by 1866.  Trading under the name McAllister-Keller Co., Inc. from 1917, the company continued to offer lantern slides and other supplies until 1942.[url=#_ftn4][4][/url] The photographer John Duer Scott and the colorist Edward Van Altena joined forces to create a New York-based business in 1904. Riley Optical was a British company specializing in slide and lantern manufacturing, which opened a New York branch by 1895. Williams, Brown and Earle primarily sold laboratory supplies and optical equipment, but also produced lantern slide sets.","The manufacturers, retailers, photographers, studios or colorists identified in this collection are:","Beseler Lantern Slide Company, 131 East 23 rd  Street, New York","Brown and Dawson, Stamford, Connecticut","Detroit Publishing Company, Detroit, Michigan","C. H. Graves Company, Philadelphia, Pennsylvania","Misses Griffith (colorists), New York, New York","A. D. Handy, Boston, Massachusetts","Joseph Hawkes, 108 Fulton Street, New York, New York","Milton R. Holmes (photographer), Pennsylvania","W. C. Ives, New York, New York","Keystone View Company, Meadville, Pennsylvania","Chas. W. Kimble, Trenton, New Jersey","T. H. McAllister-Keller Co., Inc., New York, New York","Moore, Bond \u0026 Company, Chicago, Illinois","William Herman Rau, 1324 Chestnut Street, Philadelphia, Pennsylvania","Riley Optical, New York, New York","John Duer Scott (photographer), New York, New York","Scott and Van Altena, 59 Pearl Street, New York, New York","Underwood and Underwood, Washington, D. C.","Edward Van Altena, 71-79 West 45 th  Street, New York, New York","Williams, Brown \u0026 Earle, Inc., Philadelphia, Pennsylvania","In most instances, the maker's identification labels do not distinguish professions of the named entities, although the Misses Griffith are clearly indicated as hand colorists operating out of New York City. The street addresses listed above reflect identification printed on the commercial paper labels. In some instances, additional research revealed city or state of operation.","Slide lantern manufacturers also sold instruction manuals and mass-produced kits intended for amateur photographers, teachers, organizations, and educational institutions. Such kits included light sensitive lantern glass, clear cover glass, gummed paper masks, binding tape, and grooved wooden boxes for safe storage. Museums, schools and universities frequently created their own lantern slides for educational use. Photographic clubs emerged in American cities, offering lantern slide lectures and organizing slide exchanges. The slides in this collection that lack manufacturer, retailer or studio labels may be the products of such non-commercial endeavors.","Lantern slides created a new way to view both commercial and amateur photography. While the earliest photographic methods required an intimate viewership, the projection capabilities of the magic lantern allowed for a sizable audience. In the United States, the greatest impact of lantern slides was as a didactic tool and a form of entertainment.[url=#_ftn5][5][/url] Photographic lantern slides reached the peak of their popularity during the first third of the twentieth century, and dramatically impacted the development of animation technologies as well as visual-based education methods in fields such as anthropology, art history, and geography. As new photographic films emerged in the 1930s and 1940s, magic lantern shows became a rarity and ultimately obsolete.","[url=#_ftnref1][1][/url] John A. Tennant, ed.   The Photo-Miniature: A Magazine of Photographic Information  7:83 (Nov. 1907), 501-539.","[url=#_ftnref2][2][/url] Hasluck, 129-132.","[url=#_ftnref3][3][/url] Shepard, \"The Magic Lantern Slide,\" 105.  The company was purchased by the Mast Development Company in 1963.","[url=#_ftnref4][4][/url] David Robinson, et al., editors.   Encyclopaedia of the Magic Lantern   (London: The Magic Lantern Society, 2001),181-2.","[url=#_ftnref5][5][/url] Shepard, \"The Magic Lantern Slide,\" 91.","None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information.","USF Libraries - Tampa Special Collections","English"],"unitid_tesim":["MS-1995-06","/repositories/2/resources/391"],"normalized_date_ssm":["1902-1929, Date acquired: 00/00/1995"],"normalized_title_ssm":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995"],"collection_title_tesim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995"],"collection_ssim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"access_terms_ssm":["None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"acqinfo_ssim":["Donation"],"access_subjects_ssim":["Lantern slides"],"access_subjects_ssm":["Lantern slides"],"has_online_content_ssim":["false"],"extent_ssm":["20.23 Linear Feet","39 boxes"],"extent_tesim":["20.23 Linear Feet","39 boxes"],"date_range_isim":[1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929],"accessrestrict_html_tesm":["\u003cp\u003eFragile materials served by appointment. Gloves required.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Fragile materials served by appointment. Gloves required."],"accruals_html_tesm":["\u003cp\u003eFive lantern slides measuring 1.75\" by 6.75\" donated to USF Special Collections on August 23, 2023.\u003c/p\u003e"],"accruals_heading_ssm":["Accruals"],"accruals_tesim":["Five lantern slides measuring 1.75\" by 6.75\" donated to USF Special Collections on August 23, 2023."],"arrangement_html_tesm":["\u003cp\u003eThe slides have been issued inventory numbers; for item level description see printed document with the collection.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["The slides have been issued inventory numbers; for item level description see printed document with the collection."],"bioghist_html_tesm":["\u003cp\u003eThe history of the lantern slide has its origins in seventeenth-century optical viewing devices which came to be known as \"magic lanterns\". The earliest slides for magic lanterns consisted of hand-painted images on glass, projected by itinerant showmen to amuse their audiences. In 1849, about ten years after the invention of photography, lantern slides began to be produced photographically.  Rapid improvements in photographic reproduction methods and more effective projection illuminants sparked the increased popularization of magic lantern slides.\u003c/p\u003e\n","\u003cp\u003e \nIn the United States, magic lantern shows were especially popular in formal education settings. From the 1850s, following the lead of the Philadelphia-based Langenheim Brothers, a growing number of slide manufacturers retained stock collections of negatives from which lantern slides could be produced, assembled into thematic boxed sets, and sold to consumers, including universities, companies, clubs and other social organizations.\u003c/p\u003e\n","\u003cp\u003e \nThe vast majority of these commercial lantern slides were black-and-white positive images, created with the wet collodion or a dry gelatine process. Slide lantern photographers made either \"contact\" or \"reduction\" prints. They made contact prints by placing a negative over a piece of light-sensitive lantern glass and then developing the image by exposure under controlled light. For a reduction print, the photographer affixed the negative to a window with a clear view, and photographed the illuminated negative directly onto the light-senstive lantern glass with a camera. After the completion of the photographic process, slide makers often affixed a paper border to the lantern glass, covered it with a clear piece of protective glass, and then bound the glass \"sandwich\" together with tape. The paper borders often bore printed identification of the commercial studio. Less frequently, manufacturers employed professional colorists to apply pigment washes to the lantern glass image prior to labeling and binding.\u003c/p\u003e\n","\u003cp\u003e \nIn the 1930s and 1940s, less expensive film-based transparencies replaced glass lantern slides.  Commercial glass lantern slide firms and photographic studios disappeared or adapted to the new medium of 35 mm slides. [1] John Barnes. Catalogue of the Collection. Part 2: Optical Projection, The History of the Magic Lantern from the 17th to the 20th Century (St. Ives, Cornwall: Barnes Museum of Cinematography, 1970), 27-29. [2] Elizabeth Shepard. \"The Magic Lantern Slide in Entertainment and Education, 1860-1920.\" History of Photography 11: 2 (April-June 1987), 91. [3] Paul N. Hasluck. Optical Lanterns and Accessories: How to Make and Manage Them, Including Instructions on Making Slides (London: Cassell \u0026amp; Company, Ltd., 1901), 133-139.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["The history of the lantern slide has its origins in seventeenth-century optical viewing devices which came to be known as \"magic lanterns\". The earliest slides for magic lanterns consisted of hand-painted images on glass, projected by itinerant showmen to amuse their audiences. In 1849, about ten years after the invention of photography, lantern slides began to be produced photographically.  Rapid improvements in photographic reproduction methods and more effective projection illuminants sparked the increased popularization of magic lantern slides."," \nIn the United States, magic lantern shows were especially popular in formal education settings. From the 1850s, following the lead of the Philadelphia-based Langenheim Brothers, a growing number of slide manufacturers retained stock collections of negatives from which lantern slides could be produced, assembled into thematic boxed sets, and sold to consumers, including universities, companies, clubs and other social organizations."," \nThe vast majority of these commercial lantern slides were black-and-white positive images, created with the wet collodion or a dry gelatine process. Slide lantern photographers made either \"contact\" or \"reduction\" prints. They made contact prints by placing a negative over a piece of light-sensitive lantern glass and then developing the image by exposure under controlled light. For a reduction print, the photographer affixed the negative to a window with a clear view, and photographed the illuminated negative directly onto the light-senstive lantern glass with a camera. After the completion of the photographic process, slide makers often affixed a paper border to the lantern glass, covered it with a clear piece of protective glass, and then bound the glass \"sandwich\" together with tape. The paper borders often bore printed identification of the commercial studio. Less frequently, manufacturers employed professional colorists to apply pigment washes to the lantern glass image prior to labeling and binding."," \nIn the 1930s and 1940s, less expensive film-based transparencies replaced glass lantern slides.  Commercial glass lantern slide firms and photographic studios disappeared or adapted to the new medium of 35 mm slides. [1] John Barnes. Catalogue of the Collection. Part 2: Optical Projection, The History of the Magic Lantern from the 17th to the 20th Century (St. Ives, Cornwall: Barnes Museum of Cinematography, 1970), 27-29. [2] Elizabeth Shepard. \"The Magic Lantern Slide in Entertainment and Education, 1860-1920.\" History of Photography 11: 2 (April-June 1987), 91. [3] Paul N. Hasluck. Optical Lanterns and Accessories: How to Make and Manage Them, Including Instructions on Making Slides (London: Cassell \u0026 Company, Ltd., 1901), 133-139."],"odd_html_tesm":["\u003cp\u003epublished\u003c/p\u003e"],"odd_heading_ssm":["Other Descriptive Information"],"odd_tesim":["published"],"prefercite_html_tesm":["\u003cp\u003ePhotographic Lantern Slide Collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"prefercite_tesim":["Photographic Lantern Slide Collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"scopecontent_html_tesm":["\u003cp\u003eLantern slides have their origins in optical projection devices dating to the seventeenth century, yet their widespread use did not begin until after the advent of the wet collodion photographic process by Frederick Scott Archer in the late 1840s. As the nineteenth century progressed, lantern slides with photographic images quickly became popular forms of public and private education and entertainment.\u003c/p\u003e\n","\u003cp\u003eThe Photographic Lantern Slide collection is a source of visual imagery that spans the world in historical, architectural, cultural and agricultural subjects.  It represents one of the most popular categories of lantern slides, travel destinations.  It is international in scope, with scenes varying by locale, as indicated in the container listing. Many of the slides in this collection represent the sacred spaces of the Jewish, Buddhist, Christian and Muslim religions. Popular tourist destinations and historic sites are also prevalent, as are scenes of working people, housing structures, rural agriculture and transportation methods.\u003c/p\u003e\n","\u003cp\u003eDocumentation pertaining to this collection is limited to information affixed to the slides. Studios, manufacturers and retailers are identified on printed or handwritten labels, and some slides bear dates ranging from 1902 to 1929.  The hand colorists known as \"the Misses Griffith\" are identified on a number of slides, yet in most instances, the photographer who took the picture and the date of the negative's creation are not indicated. Nonetheless, the collection documents the products of a number of photographers, manufacturers, retailers of optical supplies and hand colorists.  The collection is especially notable for its number of hand-colored lantern slides.\u003c/p\u003e\n","\u003cp\u003eThe bulk of photographic lantern slides sold in the United States in the early twentieth century were black and white, products of the wet collodion or a gelatine photographic process. Hand coloring required additional skilled labor, space and tools, and delayed the mass production of the slides. Its relationship to painting on china and glass meant that women often performed the skilled labor.  Transparent oil paints, aniline dyes or watercolors were most frequently used in the process, the slides sometimes baked in an oven to set the paint layers prior to subsequent pigment applications.  While the earliest hand-colored slides required the painter's experimentation with different pigments and dyes, by the early twentieth century, paint manufacturers produced sets of colors specifically designed for slide lantern use.[url=#_ftn1][1][/url]\u003c/p\u003e\n","\u003cp\u003eOnce the photographic image was ready for assembly, the binders often applied a gummed opaque paper border (called a mask) to the glass negative and then topped it with a clear glass cover.  They then placed the two pieces of glass into a binding clamp and bound them together with gummed paper tape.[url=#_ftn2][2][/url]  Slides could then be individually sold or grouped into thematic sets, placed in grooved boxes, and distributed. Originally housed in the wooden boxes associated with glass negatives, the majority of the slides bearing the labels of individual manufacturers and studios, the Photographic Lantern Slide Collection is representative of such commercial sales.\u003c/p\u003e\n","\u003cp\u003eIn the early twentieth century, various American companies sold thematic slide lecture sets. The Keystone View Company (1892-1963), founded by the amateur photographer B.L. Singley in Meadville, Pennsylvania, was one of the largest commercial suppliers.[url=#_ftn3][3][/url] The McAllister family was another leader in the magic lantern business, establishing operations in Philadelphia by 1846 and in New York by 1866.  Trading under the name McAllister-Keller Co., Inc. from 1917, the company continued to offer lantern slides and other supplies until 1942.[url=#_ftn4][4][/url] The photographer John Duer Scott and the colorist Edward Van Altena joined forces to create a New York-based business in 1904. Riley Optical was a British company specializing in slide and lantern manufacturing, which opened a New York branch by 1895. Williams, Brown and Earle primarily sold laboratory supplies and optical equipment, but also produced lantern slide sets.\u003c/p\u003e\n","\u003cp\u003eThe manufacturers, retailers, photographers, studios or colorists identified in this collection are:\u003c/p\u003e\n","\u003cp\u003eBeseler Lantern Slide Company, 131 East 23\u003cemph render=\"super\"\u003erd\u003c/emph\u003e Street, New York\u003c/p\u003e\n","\u003cp\u003eBrown and Dawson, Stamford, Connecticut\u003c/p\u003e\n","\u003cp\u003eDetroit Publishing Company, Detroit, Michigan\u003c/p\u003e\n","\u003cp\u003eC. H. Graves Company, Philadelphia, Pennsylvania\u003c/p\u003e\n","\u003cp\u003eMisses Griffith (colorists), New York, New York\u003c/p\u003e\n","\u003cp\u003eA. D. Handy, Boston, Massachusetts\u003c/p\u003e\n","\u003cp\u003eJoseph Hawkes, 108 Fulton Street, New York, New York\u003c/p\u003e\n","\u003cp\u003eMilton R. Holmes (photographer), Pennsylvania\u003c/p\u003e\n","\u003cp\u003eW. C. Ives, New York, New York\u003c/p\u003e\n","\u003cp\u003eKeystone View Company, Meadville, Pennsylvania\u003c/p\u003e\n","\u003cp\u003eChas. W. Kimble, Trenton, New Jersey\u003c/p\u003e\n","\u003cp\u003eT. H. McAllister-Keller Co., Inc., New York, New York\u003c/p\u003e\n","\u003cp\u003eMoore, Bond \u0026amp; Company, Chicago, Illinois\u003c/p\u003e\n","\u003cp\u003eWilliam Herman Rau, 1324 Chestnut Street, Philadelphia, Pennsylvania\u003c/p\u003e\n","\u003cp\u003eRiley Optical, New York, New York\u003c/p\u003e\n","\u003cp\u003eJohn Duer Scott (photographer), New York, New York\u003c/p\u003e\n","\u003cp\u003eScott and Van Altena, 59 Pearl Street, New York, New York\u003c/p\u003e\n","\u003cp\u003eUnderwood and Underwood, Washington, D. C.\u003c/p\u003e\n","\u003cp\u003eEdward Van Altena, 71-79 West 45\u003cemph render=\"super\"\u003eth\u003c/emph\u003e Street, New York, New York\u003c/p\u003e\n","\u003cp\u003eWilliams, Brown \u0026amp; Earle, Inc., Philadelphia, Pennsylvania\u003c/p\u003e\n","\u003cp\u003eIn most instances, the maker's identification labels do not distinguish professions of the named entities, although the Misses Griffith are clearly indicated as hand colorists operating out of New York City. The street addresses listed above reflect identification printed on the commercial paper labels. In some instances, additional research revealed city or state of operation.\u003c/p\u003e\n","\u003cp\u003eSlide lantern manufacturers also sold instruction manuals and mass-produced kits intended for amateur photographers, teachers, organizations, and educational institutions. Such kits included light sensitive lantern glass, clear cover glass, gummed paper masks, binding tape, and grooved wooden boxes for safe storage. Museums, schools and universities frequently created their own lantern slides for educational use. Photographic clubs emerged in American cities, offering lantern slide lectures and organizing slide exchanges. The slides in this collection that lack manufacturer, retailer or studio labels may be the products of such non-commercial endeavors.\u003c/p\u003e\n","\u003cp\u003eLantern slides created a new way to view both commercial and amateur photography. While the earliest photographic methods required an intimate viewership, the projection capabilities of the magic lantern allowed for a sizable audience. In the United States, the greatest impact of lantern slides was as a didactic tool and a form of entertainment.[url=#_ftn5][5][/url] Photographic lantern slides reached the peak of their popularity during the first third of the twentieth century, and dramatically impacted the development of animation technologies as well as visual-based education methods in fields such as anthropology, art history, and geography. As new photographic films emerged in the 1930s and 1940s, magic lantern shows became a rarity and ultimately obsolete.\u003c/p\u003e\n","\u003cp\u003e[url=#_ftnref1][1][/url] John A. Tennant, ed.  \u003cemph render=\"italic\"\u003eThe Photo-Miniature: A Magazine of Photographic Information\u003c/emph\u003e 7:83 (Nov. 1907), 501-539.\u003c/p\u003e\n","\u003cp\u003e[url=#_ftnref2][2][/url] Hasluck, 129-132.\u003c/p\u003e\n","\u003cp\u003e[url=#_ftnref3][3][/url] Shepard, \"The Magic Lantern Slide,\" 105.  The company was purchased by the Mast Development Company in 1963.\u003c/p\u003e\n","\u003cp\u003e[url=#_ftnref4][4][/url] David Robinson, et al., editors.  \u003cemph render=\"italic\"\u003eEncyclopaedia of the Magic Lantern  \u003c/emph\u003e(London: The Magic Lantern Society, 2001),181-2.\u003c/p\u003e\n","\u003cp\u003e[url=#_ftnref5][5][/url] Shepard, \"The Magic Lantern Slide,\" 91.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Lantern slides have their origins in optical projection devices dating to the seventeenth century, yet their widespread use did not begin until after the advent of the wet collodion photographic process by Frederick Scott Archer in the late 1840s. As the nineteenth century progressed, lantern slides with photographic images quickly became popular forms of public and private education and entertainment.","The Photographic Lantern Slide collection is a source of visual imagery that spans the world in historical, architectural, cultural and agricultural subjects.  It represents one of the most popular categories of lantern slides, travel destinations.  It is international in scope, with scenes varying by locale, as indicated in the container listing. Many of the slides in this collection represent the sacred spaces of the Jewish, Buddhist, Christian and Muslim religions. Popular tourist destinations and historic sites are also prevalent, as are scenes of working people, housing structures, rural agriculture and transportation methods.","Documentation pertaining to this collection is limited to information affixed to the slides. Studios, manufacturers and retailers are identified on printed or handwritten labels, and some slides bear dates ranging from 1902 to 1929.  The hand colorists known as \"the Misses Griffith\" are identified on a number of slides, yet in most instances, the photographer who took the picture and the date of the negative's creation are not indicated. Nonetheless, the collection documents the products of a number of photographers, manufacturers, retailers of optical supplies and hand colorists.  The collection is especially notable for its number of hand-colored lantern slides.","The bulk of photographic lantern slides sold in the United States in the early twentieth century were black and white, products of the wet collodion or a gelatine photographic process. Hand coloring required additional skilled labor, space and tools, and delayed the mass production of the slides. Its relationship to painting on china and glass meant that women often performed the skilled labor.  Transparent oil paints, aniline dyes or watercolors were most frequently used in the process, the slides sometimes baked in an oven to set the paint layers prior to subsequent pigment applications.  While the earliest hand-colored slides required the painter's experimentation with different pigments and dyes, by the early twentieth century, paint manufacturers produced sets of colors specifically designed for slide lantern use.[url=#_ftn1][1][/url]","Once the photographic image was ready for assembly, the binders often applied a gummed opaque paper border (called a mask) to the glass negative and then topped it with a clear glass cover.  They then placed the two pieces of glass into a binding clamp and bound them together with gummed paper tape.[url=#_ftn2][2][/url]  Slides could then be individually sold or grouped into thematic sets, placed in grooved boxes, and distributed. Originally housed in the wooden boxes associated with glass negatives, the majority of the slides bearing the labels of individual manufacturers and studios, the Photographic Lantern Slide Collection is representative of such commercial sales.","In the early twentieth century, various American companies sold thematic slide lecture sets. The Keystone View Company (1892-1963), founded by the amateur photographer B.L. Singley in Meadville, Pennsylvania, was one of the largest commercial suppliers.[url=#_ftn3][3][/url] The McAllister family was another leader in the magic lantern business, establishing operations in Philadelphia by 1846 and in New York by 1866.  Trading under the name McAllister-Keller Co., Inc. from 1917, the company continued to offer lantern slides and other supplies until 1942.[url=#_ftn4][4][/url] The photographer John Duer Scott and the colorist Edward Van Altena joined forces to create a New York-based business in 1904. Riley Optical was a British company specializing in slide and lantern manufacturing, which opened a New York branch by 1895. Williams, Brown and Earle primarily sold laboratory supplies and optical equipment, but also produced lantern slide sets.","The manufacturers, retailers, photographers, studios or colorists identified in this collection are:","Beseler Lantern Slide Company, 131 East 23 rd  Street, New York","Brown and Dawson, Stamford, Connecticut","Detroit Publishing Company, Detroit, Michigan","C. H. Graves Company, Philadelphia, Pennsylvania","Misses Griffith (colorists), New York, New York","A. D. Handy, Boston, Massachusetts","Joseph Hawkes, 108 Fulton Street, New York, New York","Milton R. Holmes (photographer), Pennsylvania","W. C. Ives, New York, New York","Keystone View Company, Meadville, Pennsylvania","Chas. W. Kimble, Trenton, New Jersey","T. H. McAllister-Keller Co., Inc., New York, New York","Moore, Bond \u0026 Company, Chicago, Illinois","William Herman Rau, 1324 Chestnut Street, Philadelphia, Pennsylvania","Riley Optical, New York, New York","John Duer Scott (photographer), New York, New York","Scott and Van Altena, 59 Pearl Street, New York, New York","Underwood and Underwood, Washington, D. C.","Edward Van Altena, 71-79 West 45 th  Street, New York, New York","Williams, Brown \u0026 Earle, Inc., Philadelphia, Pennsylvania","In most instances, the maker's identification labels do not distinguish professions of the named entities, although the Misses Griffith are clearly indicated as hand colorists operating out of New York City. The street addresses listed above reflect identification printed on the commercial paper labels. In some instances, additional research revealed city or state of operation.","Slide lantern manufacturers also sold instruction manuals and mass-produced kits intended for amateur photographers, teachers, organizations, and educational institutions. Such kits included light sensitive lantern glass, clear cover glass, gummed paper masks, binding tape, and grooved wooden boxes for safe storage. Museums, schools and universities frequently created their own lantern slides for educational use. Photographic clubs emerged in American cities, offering lantern slide lectures and organizing slide exchanges. The slides in this collection that lack manufacturer, retailer or studio labels may be the products of such non-commercial endeavors.","Lantern slides created a new way to view both commercial and amateur photography. While the earliest photographic methods required an intimate viewership, the projection capabilities of the magic lantern allowed for a sizable audience. In the United States, the greatest impact of lantern slides was as a didactic tool and a form of entertainment.[url=#_ftn5][5][/url] Photographic lantern slides reached the peak of their popularity during the first third of the twentieth century, and dramatically impacted the development of animation technologies as well as visual-based education methods in fields such as anthropology, art history, and geography. As new photographic films emerged in the 1930s and 1940s, magic lantern shows became a rarity and ultimately obsolete.","[url=#_ftnref1][1][/url] John A. Tennant, ed.   The Photo-Miniature: A Magazine of Photographic Information  7:83 (Nov. 1907), 501-539.","[url=#_ftnref2][2][/url] Hasluck, 129-132.","[url=#_ftnref3][3][/url] Shepard, \"The Magic Lantern Slide,\" 105.  The company was purchased by the Mast Development Company in 1963.","[url=#_ftnref4][4][/url] David Robinson, et al., editors.   Encyclopaedia of the Magic Lantern   (London: The Magic Lantern Society, 2001),181-2.","[url=#_ftnref5][5][/url] Shepard, \"The Magic Lantern Slide,\" 91."],"userestrict_html_tesm":["\u003cp\u003eNone.\u0026#xA0;The contents of the collection may be subject to copyright.\u0026#xA0; Visit the United States Copyright Office's website at \u003cextref href=\"http://www.copyright.gov/\"\u003ehttp://www.copyright.gov/\u003c/extref\u003e for more information.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"names_ssim":["USF Libraries - Tampa Special Collections"],"corpname_ssim":["USF Libraries - Tampa Special Collections"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":2479,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"18ce43a3c782b797db9fa781","timestamp":"2026-06-19T03:16:57.188Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/18ce43a3c782b797db9fa781"}},{"id":"8d2363c7af1de9fdbd436609","type":"collection","attributes":{"title":"Pine Hill Plantation Papers, 1832-1926, Date acquired: 07/31/1965","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/8d2363c7af1de9fdbd436609#abstract_or_scope","type":"document_value","attributes":{"value":["\u003cp\u003eIncludes materials on the American Civil War, the Bradford-Eppes family including Susan Bradford Eppes and Dr. Edward Bradford, plantation life, land and mortgages, banking, tomb inscriptions from the cemetery in Pine Hill, Florida, sheet music for \"Twenty Years Ago\" by J. E. McCullune, pamphlets from Orlando and Jacksonville, Florida, as well as genealogical data on the Eppes-Bradford family. Photographs include members of the Bradford-Eppes family, John Wilkes Booth, Louise Covington, and a United States Coast Guard Signal Service Station in Palm Beach, Florida. Includes manuscripts for the books \u003cem\u003eNegro of the Old South\u003c/em\u003e and \u003cem\u003eThrough Some Eventful Years\u003c/em\u003e, both by Susan Bradford Eppes. \u003cbr\u003e\u003c/p\u003e"],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/8d2363c7af1de9fdbd436609#breadcrumbs","type":"document_value","attributes":{"value":[{"id":"8d2363c7af1de9fdbd436609","title_ssm":["Pine Hill Plantation Papers"],"title_tesim":["Pine Hill Plantation Papers"],"ead_ssi":"8d2363c7af1de9fdbd436609","unitdate_ssm":["1832-1926","Date acquired: 07/31/1965"],"unitdate_inclusive_ssm":["1832-1926"],"unitdate_other_ssim":["Date acquired: 07/31/1965"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS 0-204","/repositories/10/resources/1106"],"text":["MSS 0-204","/repositories/10/resources/1106","Pine Hill Plantation Papers, 1832-1926, Date acquired: 07/31/1965","Leon County (Fla.)","Florida--History--Civil War, 1861-1865","Slavery--Florida--Leon County","Plantations--Florida","Plantation owners--Florida--Leon County","Slavery--United States","Antebellum Florida, 1845-1861","Formulas, recipes, etc.","Cemeteries","United States--History--Civil War, 1861-1865","Cotton","Cotton growing--Florida--Leon County","Plantations--Southern States","Poetry","Manuscripts","Collection is open to all researchers. ","This collection is in an offsite storage location. Please contact lib-specialcollections@fsu.edu with requests for access or for more information.","Susan Branch Bradford Eppes and her husband, Nicholas Ware Eppes owned and operated Pine Hill Plantation. Mrs. Eppes was born at Pine Hill Plantation, Leon County, March 8, 1848 and died July 2, 1942, in Tallahassee. Mr. Eppes, was born November 1,1843 in Tallahassee. Mrs. Eppes was a well-known historian and author. Mr. Eppes was a Confederate Veteran, planter, and Leon County's Commissioner of Public Instruction.\n  Mrs. Eppes started her studies in the school at Pine Hill Plantation, maintained for the children of the four Bradford brothers, whose plantations were adjacent. She began keeping a diary when eight years old, and records of events of the years furnished much of the material for her book,  Through Same Eventful Years . Later she wrote  The Negro of the Old South , and published a book of poems.\n  \tMrs. Eppes was a member of the Swedenborgian Church; member of Anna Jackson Chapter and Honorary State President of the Florida Division, United Daughters of the Confederacy; the Southern Women's Memorial Association; Caroline Brevard Chapter of the Daughters of the American Revolution; and honorary member of the Tallahassee Woman's Club.\n  \tHer husband, Nicholas Ware Eppes, was a great-grandson of Thomas Jefferson, attended military school at Tallahassee, and was Captain of the Cadets at the West Florida Seminary. He enlisted in the Confederate Army and served the entire four years of the Civil War. Later he was identified with the educational work of Florida and was Superintendent of Schools for a number of years. He had just been re-elected to another four-year term when he was murdered near Pine Hill Plantation on September 3, 1904.\n  \tThey were married on November 1, 1866. Their children were: Edward Bradford, Susan Ware, Francis, Martha Branch, Elizabeth Cleland, and Allice Bradford Eppes.","Microfilm copies of the Pine Hill Plantation Papers are available in the Strozier Library Micromaterials Collection (FILM 9634, Reels 1-3).  http://fsu.catalog.fcla.edu/permalink.jsp?23FS027067250","Processed August 1965 (MSS 0-204), November 1965 (MSS 0-205), August 1967 (MSS 0-206) and June 1991 (MSS 91-11).","Susan Bradford Eppes Papers, Special Collections \u0026 Archives, Florida State University Libraries, Tallahassee, Florida.  http://purl.fcla.edu/fsu/MSS_86-17 \nPapers of the Eppes-Randolph Families, Accession #7109, Special Collections, University of Virginia Library, Charlottesville, Va.","Includes materials on the American Civil War, the Bradford-Eppes family including Susan Bradford Eppes and Dr. Edward Bradford, plantation life, land and mortgages, banking, tomb inscriptions from the cemetery in Pine Hill, Florida, sheet music for \"Twenty Years Ago\" by J. E. McCullune, pamphlets from Orlando and Jacksonville, Florida, as well as genealogical data on the Eppes-Bradford family. Photographs include members of the Bradford-Eppes family, John Wilkes Booth, Louise Covington, and a United States Coast Guard Signal Service Station in Palm Beach, Florida. Includes manuscripts for the books  Negro of the Old South  and  Through Some Eventful Years , both by Susan Bradford Eppes.\n  \tAlso includes correspondence between N.W. Eppes and A.A. Murphree regarding normal school examinations, Box 3, Folder 3.\n  \tContains MSS 0-205, MSS 0-206, MSS 91-11.","Select materials from the Pine Hill Plantation Papers have been digitized and are available through the  FSU Digital Library .","All requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections \u0026 Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher.","FSU Special Collections \u0026 Archives","Bradford family","Eppes Family","Nason, Henry B. (Henry Bradford), 1831-1895","English"],"unitid_tesim":["MSS 0-204","/repositories/10/resources/1106"],"normalized_date_ssm":["1832-1926, Date acquired: 07/31/1965"],"normalized_title_ssm":["Pine Hill Plantation Papers, 1832-1926, Date acquired: 07/31/1965"],"collection_title_tesim":["Pine Hill Plantation Papers, 1832-1926, Date acquired: 07/31/1965"],"collection_ssim":["Pine Hill Plantation Papers, 1832-1926, Date acquired: 07/31/1965"],"repository_ssm":["FSU Special Collections \u0026 Archives"],"repository_ssim":["FSU Special Collections \u0026 Archives"],"geogname_ssm":["Leon County (Fla.)"],"geogname_ssim":["Leon County (Fla.)"],"places_ssim":["Leon County (Fla.)"],"access_terms_ssm":["All requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections \u0026 Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher."],"acqinfo_ssim":["Purchased from Joseph J. Jones Jr.","Subsequent additions were received October 27, 1965 (MSS 0-205) and May 7, 1966 (MSS 0-206)."],"access_subjects_ssim":["Florida--History--Civil War, 1861-1865","Slavery--Florida--Leon County","Plantations--Florida","Plantation owners--Florida--Leon County","Slavery--United States","Antebellum Florida, 1845-1861","Formulas, recipes, etc.","Cemeteries","United States--History--Civil War, 1861-1865","Cotton","Cotton growing--Florida--Leon County","Plantations--Southern States","Poetry","Manuscripts"],"access_subjects_ssm":["Florida--History--Civil War, 1861-1865","Slavery--Florida--Leon County","Plantations--Florida","Plantation owners--Florida--Leon County","Slavery--United States","Antebellum Florida, 1845-1861","Formulas, recipes, etc.","Cemeteries","United States--History--Civil War, 1861-1865","Cotton","Cotton growing--Florida--Leon County","Plantations--Southern States","Poetry","Manuscripts"],"has_online_content_ssim":["false"],"extent_ssm":["2.00 Linear Feet"],"extent_tesim":["2.00 Linear Feet"],"genreform_ssim":["Manuscripts"],"date_range_isim":[1832,1833,1834,1835,1836,1837,1838,1839,1840,1841,1842,1843,1844,1845,1846,1847,1848,1849,1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to all researchers. \u003c/p\u003e\n","\u003cp\u003eThis collection is in an offsite storage location. Please contact lib-specialcollections@fsu.edu with requests for access or for more information.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Collection is open to all researchers. ","This collection is in an offsite storage location. Please contact lib-specialcollections@fsu.edu with requests for access or for more information."],"bioghist_html_tesm":["\u003cp\u003eSusan Branch Bradford Eppes and her husband, Nicholas Ware Eppes owned and operated Pine Hill Plantation. Mrs. Eppes was born at Pine Hill Plantation, Leon County, March 8, 1848 and died July 2, 1942, in Tallahassee. Mr. Eppes, was born November 1,1843 in Tallahassee. Mrs. Eppes was a well-known historian and author. Mr. Eppes was a Confederate Veteran, planter, and Leon County's Commissioner of Public Instruction.\n\u003cbr\u003e\u003cbr\u003e Mrs. Eppes started her studies in the school at Pine Hill Plantation, maintained for the children of the four Bradford brothers, whose plantations were adjacent. She began keeping a diary when eight years old, and records of events of the years furnished much of the material for her book, \u003cemph render=\"italic\"\u003eThrough Same Eventful Years\u003c/emph\u003e. Later she wrote \u003cemph render=\"italic\"\u003eThe Negro of the Old South\u003c/emph\u003e, and published a book of poems.\n\u003cbr\u003e\u003cbr\u003e \tMrs. Eppes was a member of the Swedenborgian Church; member of Anna Jackson Chapter and Honorary State President of the Florida Division, United Daughters of the Confederacy; the Southern Women's Memorial Association; Caroline Brevard Chapter of the Daughters of the American Revolution; and honorary member of the Tallahassee Woman's Club.\n\u003cbr\u003e\u003cbr\u003e \tHer husband, Nicholas Ware Eppes, was a great-grandson of Thomas Jefferson, attended military school at Tallahassee, and was Captain of the Cadets at the West Florida Seminary. He enlisted in the Confederate Army and served the entire four years of the Civil War. Later he was identified with the educational work of Florida and was Superintendent of Schools for a number of years. He had just been re-elected to another four-year term when he was murdered near Pine Hill Plantation on September 3, 1904.\n\u003cbr\u003e\u003cbr\u003e \tThey were married on November 1, 1866. Their children were: Edward Bradford, Susan Ware, Francis, Martha Branch, Elizabeth Cleland, and Allice Bradford Eppes.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["Susan Branch Bradford Eppes and her husband, Nicholas Ware Eppes owned and operated Pine Hill Plantation. Mrs. Eppes was born at Pine Hill Plantation, Leon County, March 8, 1848 and died July 2, 1942, in Tallahassee. Mr. Eppes, was born November 1,1843 in Tallahassee. Mrs. Eppes was a well-known historian and author. Mr. Eppes was a Confederate Veteran, planter, and Leon County's Commissioner of Public Instruction.\n  Mrs. Eppes started her studies in the school at Pine Hill Plantation, maintained for the children of the four Bradford brothers, whose plantations were adjacent. She began keeping a diary when eight years old, and records of events of the years furnished much of the material for her book,  Through Same Eventful Years . Later she wrote  The Negro of the Old South , and published a book of poems.\n  \tMrs. Eppes was a member of the Swedenborgian Church; member of Anna Jackson Chapter and Honorary State President of the Florida Division, United Daughters of the Confederacy; the Southern Women's Memorial Association; Caroline Brevard Chapter of the Daughters of the American Revolution; and honorary member of the Tallahassee Woman's Club.\n  \tHer husband, Nicholas Ware Eppes, was a great-grandson of Thomas Jefferson, attended military school at Tallahassee, and was Captain of the Cadets at the West Florida Seminary. He enlisted in the Confederate Army and served the entire four years of the Civil War. Later he was identified with the educational work of Florida and was Superintendent of Schools for a number of years. He had just been re-elected to another four-year term when he was murdered near Pine Hill Plantation on September 3, 1904.\n  \tThey were married on November 1, 1866. Their children were: Edward Bradford, Susan Ware, Francis, Martha Branch, Elizabeth Cleland, and Allice Bradford Eppes."],"originalsloc_html_tesm":["\u003cp\u003eMicrofilm copies of the Pine Hill Plantation Papers are available in the Strozier Library Micromaterials Collection (FILM 9634, Reels 1-3). \u003cextref href=\"http://fsu.catalog.fcla.edu/permalink.jsp?23FS027067250\"\u003ehttp://fsu.catalog.fcla.edu/permalink.jsp?23FS027067250\u003c/extref\u003e\u003c/p\u003e"],"originalsloc_heading_ssm":["Existence and Location of Originals"],"originalsloc_tesim":["Microfilm copies of the Pine Hill Plantation Papers are available in the Strozier Library Micromaterials Collection (FILM 9634, Reels 1-3).  http://fsu.catalog.fcla.edu/permalink.jsp?23FS027067250"],"prefercite_html_tesm":["\u003cp\u003ePine Hill Plantation Papers, Special Collections \u0026amp; Archives, Florida State University Libraries, Tallahassee, Florida. \u003cextref href=\"http://purl.fcla.edu/fsu/MSS_0-204\"\u003ehttp://purl.fcla.edu/fsu/MSS_0-204\u003c/extref\u003e\u003c/p\u003e"],"prefercite_tesim":["Pine Hill Plantation Papers, Special Collections \u0026 Archives, Florida State University Libraries, Tallahassee, Florida.  http://purl.fcla.edu/fsu/MSS_0-204"],"processinfo_html_tesm":["\u003cp\u003eProcessed August 1965 (MSS 0-204), November 1965 (MSS 0-205), August 1967 (MSS 0-206) and June 1991 (MSS 91-11).\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed August 1965 (MSS 0-204), November 1965 (MSS 0-205), August 1967 (MSS 0-206) and June 1991 (MSS 91-11)."],"relatedmaterial_html_tesm":["\u003cp\u003eSusan Bradford Eppes Papers, Special Collections \u0026amp; Archives, Florida State University Libraries, Tallahassee, Florida. \u003cextref href=\"http://purl.fcla.edu/fsu/MSS_86-17\"\u003ehttp://purl.fcla.edu/fsu/MSS_86-17\u003c/extref\u003e\u003cbr\u003e\nPapers of the Eppes-Randolph Families, Accession #7109, Special Collections, University of Virginia Library, Charlottesville, Va.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Susan Bradford Eppes Papers, Special Collections \u0026 Archives, Florida State University Libraries, Tallahassee, Florida.  http://purl.fcla.edu/fsu/MSS_86-17 \nPapers of the Eppes-Randolph Families, Accession #7109, Special Collections, University of Virginia Library, Charlottesville, Va."],"scopecontent_html_tesm":["\u003cp\u003eIncludes materials on the American Civil War, the Bradford-Eppes family including Susan Bradford Eppes and Dr. Edward Bradford, plantation life, land and mortgages, banking, tomb inscriptions from the cemetery in Pine Hill, Florida, sheet music for \"Twenty Years Ago\" by J. E. McCullune, pamphlets from Orlando and Jacksonville, Florida, as well as genealogical data on the Eppes-Bradford family. Photographs include members of the Bradford-Eppes family, John Wilkes Booth, Louise Covington, and a United States Coast Guard Signal Service Station in Palm Beach, Florida. Includes manuscripts for the books \u003cemph render=\"italic\"\u003eNegro of the Old South\u003c/emph\u003e and \u003cemph render=\"italic\"\u003eThrough Some Eventful Years\u003c/emph\u003e, both by Susan Bradford Eppes.\n\u003cbr\u003e\u003cbr\u003e \tAlso includes correspondence between N.W. Eppes and A.A. Murphree regarding normal school examinations, Box 3, Folder 3.\n\u003cbr\u003e\u003cbr\u003e \tContains MSS 0-205, MSS 0-206, MSS 91-11.\u003c/p\u003e","\u003cp\u003eSelect materials from the Pine Hill Plantation Papers have been digitized and are available through the \u003cextref href=\"https://diginole.lib.fsu.edu/islandora/object/fsu:susanbradfordeppespapers\"\u003eFSU Digital Library\u003c/extref\u003e.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents","Online Copies Available"],"scopecontent_tesim":["Includes materials on the American Civil War, the Bradford-Eppes family including Susan Bradford Eppes and Dr. Edward Bradford, plantation life, land and mortgages, banking, tomb inscriptions from the cemetery in Pine Hill, Florida, sheet music for \"Twenty Years Ago\" by J. E. McCullune, pamphlets from Orlando and Jacksonville, Florida, as well as genealogical data on the Eppes-Bradford family. Photographs include members of the Bradford-Eppes family, John Wilkes Booth, Louise Covington, and a United States Coast Guard Signal Service Station in Palm Beach, Florida. Includes manuscripts for the books  Negro of the Old South  and  Through Some Eventful Years , both by Susan Bradford Eppes.\n  \tAlso includes correspondence between N.W. Eppes and A.A. Murphree regarding normal school examinations, Box 3, Folder 3.\n  \tContains MSS 0-205, MSS 0-206, MSS 91-11.","Select materials from the Pine Hill Plantation Papers have been digitized and are available through the  FSU Digital Library ."],"userestrict_html_tesm":["\u003cp\u003eAll requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections \u0026amp; Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["All requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections \u0026 Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher."],"names_ssim":["FSU Special Collections \u0026 Archives","Bradford family","Eppes Family","Nason, Henry B. (Henry Bradford), 1831-1895"],"corpname_ssim":["FSU Special Collections \u0026 Archives"],"names_coll_ssim":["Bradford family","Eppes Family","Nason, Henry B. (Henry Bradford), 1831-1895"],"famname_ssim":["Bradford family","Eppes Family"],"persname_ssim":["Nason, Henry B. (Henry Bradford), 1831-1895"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":797,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870856925758881792,"_root_":"8d2363c7af1de9fdbd436609","timestamp":"2026-07-16T07:49:59.674Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"8d2363c7af1de9fdbd436609","title_ssm":["Pine Hill Plantation Papers"],"title_tesim":["Pine Hill Plantation Papers"],"ead_ssi":"8d2363c7af1de9fdbd436609","unitdate_ssm":["1832-1926","Date acquired: 07/31/1965"],"unitdate_inclusive_ssm":["1832-1926"],"unitdate_other_ssim":["Date acquired: 07/31/1965"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS 0-204","/repositories/10/resources/1106"],"text":["MSS 0-204","/repositories/10/resources/1106","Pine Hill Plantation Papers, 1832-1926, Date acquired: 07/31/1965","Leon County (Fla.)","Florida--History--Civil War, 1861-1865","Slavery--Florida--Leon County","Plantations--Florida","Plantation owners--Florida--Leon County","Slavery--United States","Antebellum Florida, 1845-1861","Formulas, recipes, etc.","Cemeteries","United States--History--Civil War, 1861-1865","Cotton","Cotton growing--Florida--Leon County","Plantations--Southern States","Poetry","Manuscripts","Collection is open to all researchers. ","This collection is in an offsite storage location. Please contact lib-specialcollections@fsu.edu with requests for access or for more information.","Susan Branch Bradford Eppes and her husband, Nicholas Ware Eppes owned and operated Pine Hill Plantation. Mrs. Eppes was born at Pine Hill Plantation, Leon County, March 8, 1848 and died July 2, 1942, in Tallahassee. Mr. Eppes, was born November 1,1843 in Tallahassee. Mrs. Eppes was a well-known historian and author. Mr. Eppes was a Confederate Veteran, planter, and Leon County's Commissioner of Public Instruction.\n  Mrs. Eppes started her studies in the school at Pine Hill Plantation, maintained for the children of the four Bradford brothers, whose plantations were adjacent. She began keeping a diary when eight years old, and records of events of the years furnished much of the material for her book,  Through Same Eventful Years . Later she wrote  The Negro of the Old South , and published a book of poems.\n  \tMrs. Eppes was a member of the Swedenborgian Church; member of Anna Jackson Chapter and Honorary State President of the Florida Division, United Daughters of the Confederacy; the Southern Women's Memorial Association; Caroline Brevard Chapter of the Daughters of the American Revolution; and honorary member of the Tallahassee Woman's Club.\n  \tHer husband, Nicholas Ware Eppes, was a great-grandson of Thomas Jefferson, attended military school at Tallahassee, and was Captain of the Cadets at the West Florida Seminary. He enlisted in the Confederate Army and served the entire four years of the Civil War. Later he was identified with the educational work of Florida and was Superintendent of Schools for a number of years. He had just been re-elected to another four-year term when he was murdered near Pine Hill Plantation on September 3, 1904.\n  \tThey were married on November 1, 1866. Their children were: Edward Bradford, Susan Ware, Francis, Martha Branch, Elizabeth Cleland, and Allice Bradford Eppes.","Microfilm copies of the Pine Hill Plantation Papers are available in the Strozier Library Micromaterials Collection (FILM 9634, Reels 1-3).  http://fsu.catalog.fcla.edu/permalink.jsp?23FS027067250","Processed August 1965 (MSS 0-204), November 1965 (MSS 0-205), August 1967 (MSS 0-206) and June 1991 (MSS 91-11).","Susan Bradford Eppes Papers, Special Collections \u0026 Archives, Florida State University Libraries, Tallahassee, Florida.  http://purl.fcla.edu/fsu/MSS_86-17 \nPapers of the Eppes-Randolph Families, Accession #7109, Special Collections, University of Virginia Library, Charlottesville, Va.","Includes materials on the American Civil War, the Bradford-Eppes family including Susan Bradford Eppes and Dr. Edward Bradford, plantation life, land and mortgages, banking, tomb inscriptions from the cemetery in Pine Hill, Florida, sheet music for \"Twenty Years Ago\" by J. E. McCullune, pamphlets from Orlando and Jacksonville, Florida, as well as genealogical data on the Eppes-Bradford family. Photographs include members of the Bradford-Eppes family, John Wilkes Booth, Louise Covington, and a United States Coast Guard Signal Service Station in Palm Beach, Florida. Includes manuscripts for the books  Negro of the Old South  and  Through Some Eventful Years , both by Susan Bradford Eppes.\n  \tAlso includes correspondence between N.W. Eppes and A.A. Murphree regarding normal school examinations, Box 3, Folder 3.\n  \tContains MSS 0-205, MSS 0-206, MSS 91-11.","Select materials from the Pine Hill Plantation Papers have been digitized and are available through the  FSU Digital Library .","All requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections \u0026 Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher.","FSU Special Collections \u0026 Archives","Bradford family","Eppes Family","Nason, Henry B. (Henry Bradford), 1831-1895","English"],"unitid_tesim":["MSS 0-204","/repositories/10/resources/1106"],"normalized_date_ssm":["1832-1926, Date acquired: 07/31/1965"],"normalized_title_ssm":["Pine Hill Plantation Papers, 1832-1926, Date acquired: 07/31/1965"],"collection_title_tesim":["Pine Hill Plantation Papers, 1832-1926, Date acquired: 07/31/1965"],"collection_ssim":["Pine Hill Plantation Papers, 1832-1926, Date acquired: 07/31/1965"],"repository_ssm":["FSU Special Collections \u0026 Archives"],"repository_ssim":["FSU Special Collections \u0026 Archives"],"geogname_ssm":["Leon County (Fla.)"],"geogname_ssim":["Leon County (Fla.)"],"places_ssim":["Leon County (Fla.)"],"access_terms_ssm":["All requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections \u0026 Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher."],"acqinfo_ssim":["Purchased from Joseph J. Jones Jr.","Subsequent additions were received October 27, 1965 (MSS 0-205) and May 7, 1966 (MSS 0-206)."],"access_subjects_ssim":["Florida--History--Civil War, 1861-1865","Slavery--Florida--Leon County","Plantations--Florida","Plantation owners--Florida--Leon County","Slavery--United States","Antebellum Florida, 1845-1861","Formulas, recipes, etc.","Cemeteries","United States--History--Civil War, 1861-1865","Cotton","Cotton growing--Florida--Leon County","Plantations--Southern States","Poetry","Manuscripts"],"access_subjects_ssm":["Florida--History--Civil War, 1861-1865","Slavery--Florida--Leon County","Plantations--Florida","Plantation owners--Florida--Leon County","Slavery--United States","Antebellum Florida, 1845-1861","Formulas, recipes, etc.","Cemeteries","United States--History--Civil War, 1861-1865","Cotton","Cotton growing--Florida--Leon County","Plantations--Southern States","Poetry","Manuscripts"],"has_online_content_ssim":["false"],"extent_ssm":["2.00 Linear Feet"],"extent_tesim":["2.00 Linear Feet"],"genreform_ssim":["Manuscripts"],"date_range_isim":[1832,1833,1834,1835,1836,1837,1838,1839,1840,1841,1842,1843,1844,1845,1846,1847,1848,1849,1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to all researchers. \u003c/p\u003e\n","\u003cp\u003eThis collection is in an offsite storage location. Please contact lib-specialcollections@fsu.edu with requests for access or for more information.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Collection is open to all researchers. ","This collection is in an offsite storage location. Please contact lib-specialcollections@fsu.edu with requests for access or for more information."],"bioghist_html_tesm":["\u003cp\u003eSusan Branch Bradford Eppes and her husband, Nicholas Ware Eppes owned and operated Pine Hill Plantation. Mrs. Eppes was born at Pine Hill Plantation, Leon County, March 8, 1848 and died July 2, 1942, in Tallahassee. Mr. Eppes, was born November 1,1843 in Tallahassee. Mrs. Eppes was a well-known historian and author. Mr. Eppes was a Confederate Veteran, planter, and Leon County's Commissioner of Public Instruction.\n\u003cbr\u003e\u003cbr\u003e Mrs. Eppes started her studies in the school at Pine Hill Plantation, maintained for the children of the four Bradford brothers, whose plantations were adjacent. She began keeping a diary when eight years old, and records of events of the years furnished much of the material for her book, \u003cemph render=\"italic\"\u003eThrough Same Eventful Years\u003c/emph\u003e. Later she wrote \u003cemph render=\"italic\"\u003eThe Negro of the Old South\u003c/emph\u003e, and published a book of poems.\n\u003cbr\u003e\u003cbr\u003e \tMrs. Eppes was a member of the Swedenborgian Church; member of Anna Jackson Chapter and Honorary State President of the Florida Division, United Daughters of the Confederacy; the Southern Women's Memorial Association; Caroline Brevard Chapter of the Daughters of the American Revolution; and honorary member of the Tallahassee Woman's Club.\n\u003cbr\u003e\u003cbr\u003e \tHer husband, Nicholas Ware Eppes, was a great-grandson of Thomas Jefferson, attended military school at Tallahassee, and was Captain of the Cadets at the West Florida Seminary. He enlisted in the Confederate Army and served the entire four years of the Civil War. Later he was identified with the educational work of Florida and was Superintendent of Schools for a number of years. He had just been re-elected to another four-year term when he was murdered near Pine Hill Plantation on September 3, 1904.\n\u003cbr\u003e\u003cbr\u003e \tThey were married on November 1, 1866. Their children were: Edward Bradford, Susan Ware, Francis, Martha Branch, Elizabeth Cleland, and Allice Bradford Eppes.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["Susan Branch Bradford Eppes and her husband, Nicholas Ware Eppes owned and operated Pine Hill Plantation. Mrs. Eppes was born at Pine Hill Plantation, Leon County, March 8, 1848 and died July 2, 1942, in Tallahassee. Mr. Eppes, was born November 1,1843 in Tallahassee. Mrs. Eppes was a well-known historian and author. Mr. Eppes was a Confederate Veteran, planter, and Leon County's Commissioner of Public Instruction.\n  Mrs. Eppes started her studies in the school at Pine Hill Plantation, maintained for the children of the four Bradford brothers, whose plantations were adjacent. She began keeping a diary when eight years old, and records of events of the years furnished much of the material for her book,  Through Same Eventful Years . Later she wrote  The Negro of the Old South , and published a book of poems.\n  \tMrs. Eppes was a member of the Swedenborgian Church; member of Anna Jackson Chapter and Honorary State President of the Florida Division, United Daughters of the Confederacy; the Southern Women's Memorial Association; Caroline Brevard Chapter of the Daughters of the American Revolution; and honorary member of the Tallahassee Woman's Club.\n  \tHer husband, Nicholas Ware Eppes, was a great-grandson of Thomas Jefferson, attended military school at Tallahassee, and was Captain of the Cadets at the West Florida Seminary. He enlisted in the Confederate Army and served the entire four years of the Civil War. Later he was identified with the educational work of Florida and was Superintendent of Schools for a number of years. He had just been re-elected to another four-year term when he was murdered near Pine Hill Plantation on September 3, 1904.\n  \tThey were married on November 1, 1866. Their children were: Edward Bradford, Susan Ware, Francis, Martha Branch, Elizabeth Cleland, and Allice Bradford Eppes."],"originalsloc_html_tesm":["\u003cp\u003eMicrofilm copies of the Pine Hill Plantation Papers are available in the Strozier Library Micromaterials Collection (FILM 9634, Reels 1-3). \u003cextref href=\"http://fsu.catalog.fcla.edu/permalink.jsp?23FS027067250\"\u003ehttp://fsu.catalog.fcla.edu/permalink.jsp?23FS027067250\u003c/extref\u003e\u003c/p\u003e"],"originalsloc_heading_ssm":["Existence and Location of Originals"],"originalsloc_tesim":["Microfilm copies of the Pine Hill Plantation Papers are available in the Strozier Library Micromaterials Collection (FILM 9634, Reels 1-3).  http://fsu.catalog.fcla.edu/permalink.jsp?23FS027067250"],"prefercite_html_tesm":["\u003cp\u003ePine Hill Plantation Papers, Special Collections \u0026amp; Archives, Florida State University Libraries, Tallahassee, Florida. \u003cextref href=\"http://purl.fcla.edu/fsu/MSS_0-204\"\u003ehttp://purl.fcla.edu/fsu/MSS_0-204\u003c/extref\u003e\u003c/p\u003e"],"prefercite_tesim":["Pine Hill Plantation Papers, Special Collections \u0026 Archives, Florida State University Libraries, Tallahassee, Florida.  http://purl.fcla.edu/fsu/MSS_0-204"],"processinfo_html_tesm":["\u003cp\u003eProcessed August 1965 (MSS 0-204), November 1965 (MSS 0-205), August 1967 (MSS 0-206) and June 1991 (MSS 91-11).\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed August 1965 (MSS 0-204), November 1965 (MSS 0-205), August 1967 (MSS 0-206) and June 1991 (MSS 91-11)."],"relatedmaterial_html_tesm":["\u003cp\u003eSusan Bradford Eppes Papers, Special Collections \u0026amp; Archives, Florida State University Libraries, Tallahassee, Florida. \u003cextref href=\"http://purl.fcla.edu/fsu/MSS_86-17\"\u003ehttp://purl.fcla.edu/fsu/MSS_86-17\u003c/extref\u003e\u003cbr\u003e\nPapers of the Eppes-Randolph Families, Accession #7109, Special Collections, University of Virginia Library, Charlottesville, Va.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Susan Bradford Eppes Papers, Special Collections \u0026 Archives, Florida State University Libraries, Tallahassee, Florida.  http://purl.fcla.edu/fsu/MSS_86-17 \nPapers of the Eppes-Randolph Families, Accession #7109, Special Collections, University of Virginia Library, Charlottesville, Va."],"scopecontent_html_tesm":["\u003cp\u003eIncludes materials on the American Civil War, the Bradford-Eppes family including Susan Bradford Eppes and Dr. Edward Bradford, plantation life, land and mortgages, banking, tomb inscriptions from the cemetery in Pine Hill, Florida, sheet music for \"Twenty Years Ago\" by J. E. McCullune, pamphlets from Orlando and Jacksonville, Florida, as well as genealogical data on the Eppes-Bradford family. Photographs include members of the Bradford-Eppes family, John Wilkes Booth, Louise Covington, and a United States Coast Guard Signal Service Station in Palm Beach, Florida. Includes manuscripts for the books \u003cemph render=\"italic\"\u003eNegro of the Old South\u003c/emph\u003e and \u003cemph render=\"italic\"\u003eThrough Some Eventful Years\u003c/emph\u003e, both by Susan Bradford Eppes.\n\u003cbr\u003e\u003cbr\u003e \tAlso includes correspondence between N.W. Eppes and A.A. Murphree regarding normal school examinations, Box 3, Folder 3.\n\u003cbr\u003e\u003cbr\u003e \tContains MSS 0-205, MSS 0-206, MSS 91-11.\u003c/p\u003e","\u003cp\u003eSelect materials from the Pine Hill Plantation Papers have been digitized and are available through the \u003cextref href=\"https://diginole.lib.fsu.edu/islandora/object/fsu:susanbradfordeppespapers\"\u003eFSU Digital Library\u003c/extref\u003e.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents","Online Copies Available"],"scopecontent_tesim":["Includes materials on the American Civil War, the Bradford-Eppes family including Susan Bradford Eppes and Dr. Edward Bradford, plantation life, land and mortgages, banking, tomb inscriptions from the cemetery in Pine Hill, Florida, sheet music for \"Twenty Years Ago\" by J. E. McCullune, pamphlets from Orlando and Jacksonville, Florida, as well as genealogical data on the Eppes-Bradford family. Photographs include members of the Bradford-Eppes family, John Wilkes Booth, Louise Covington, and a United States Coast Guard Signal Service Station in Palm Beach, Florida. Includes manuscripts for the books  Negro of the Old South  and  Through Some Eventful Years , both by Susan Bradford Eppes.\n  \tAlso includes correspondence between N.W. Eppes and A.A. Murphree regarding normal school examinations, Box 3, Folder 3.\n  \tContains MSS 0-205, MSS 0-206, MSS 91-11.","Select materials from the Pine Hill Plantation Papers have been digitized and are available through the  FSU Digital Library ."],"userestrict_html_tesm":["\u003cp\u003eAll requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections \u0026amp; Archives. 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(Henry Bradford), 1831-1895"],"corpname_ssim":["FSU Special Collections \u0026 Archives"],"names_coll_ssim":["Bradford family","Eppes Family","Nason, Henry B. (Henry Bradford), 1831-1895"],"famname_ssim":["Bradford family","Eppes Family"],"persname_ssim":["Nason, Henry B. 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The photograph collection includes glass plate negatives and prints."],"userestrict_html_tesm":["\u003cp\u003eDigital photography, scanning, and photocopying of materials is prohibited.\u0026#xA0; Permission may be granted by the University Archivist for such reprography dependent on issues of copyright, ownership, condition, donor agreements, etc.\u0026#xA0; In general, staff do not make reproductions of copyright materials or materials for which title is not owned by the institution.\u0026#xA0; Recent revisions in the U.S. Copyright Law extended the copyright of correspondence, letters, and other personal papers to the life of the author plus seventy years.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Digital photography, scanning, and photocopying of materials is prohibited.  Permission may be granted by the University Archivist for such reprography dependent on issues of copyright, ownership, condition, donor agreements, etc.  In general, staff do not make reproductions of copyright materials or materials for which title is not owned by the institution.  Recent revisions in the U.S. Copyright Law extended the copyright of correspondence, letters, and other personal papers to the life of the author plus seventy years."],"abstract_html_tesm":["\u003cabstract id=\"aspace_cbbf7eb35a16dad12857a46b2faf647b\" label=\"Abstract\"\u003eCorrespondence (1935-1948) and photographs (1895-1905); together with newspaper clippings and publications concerning Pleas's work in the development of the Kudzu vine in West Florida. 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","This collection is in an offsite storage location. Please contact lib-specialcollections@fsu.edu with requests for access or for more information."],"bioghist_html_tesm":["\u003cp\u003eDr. Albert Alexander Murphree was the president of the Seminary West of the Suwannee when it became Florida State College in 1901. He continued after the school became Florida Female College in 1905. The name was unpopular, and was changed to Florida State College for Women in 1909. Dr. Murphree left the college that same year to go to the University of Florida.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["Dr. Albert Alexander Murphree was the president of the Seminary West of the Suwannee when it became Florida State College in 1901. He continued after the school became Florida Female College in 1905. The name was unpopular, and was changed to Florida State College for Women in 1909. 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During the 1920s, members of the family often spent their winter months in St. Petersburg. By 1930, they had moved into a large home in the Jungle Shores subdivision along the waterfront side of Park Street, about ½ mile north of H. Walter Fuller's Jungle Country Club Hotel (now Admiral Farragut Academy). Parker's mother, Mrs. Helen Miller, had started to collect presidential signatures during the mid-1920s and continued to acquire documents that were placed in this scrapbook as her son completed his studies at the Florida Military Academy and Clemson University.","Parker served in the military during the Second World War. He received two purple hearts for wounds acquired during the Battle of the Bulge. Parker married Joane in the early 1950s and he took possession of his mother's scrapbook and maintained it as a family heirloom. With his interests in numismatics and American history, he began to collect commemorative coins. Parker Miller passed away on 30 March 1997.","Other manuscript collections at the Poynter Library include presidential signatures. The library also owns framed letters written by George Washington (1786) and his Revolutionary era colleague, Benjamin Franklin (1782). For more information about other collections, please consult with staff in Special Collections and Archives.","A single bound notebook with individual documents signed by the first 32 Presidents of the United States (George Washington through Harry S. Truman). All signatures and documents date from 1790 to 1956. There's also commemorative coins from the Franklin Mint that celebrates notable American history events. Many signatures appear on documents created either prior to or after the official term(s) of office of the President.","None. The contents of the collection may be subject to copyright. Visit the United States Copyright Office's website at http://www.copyright.gov/ for more information.","Collection of presidential signatures and related ephemera from 1790 through 1956.","USF Libraries - St. Petersburg Special Collections \u0026 University Archives","Miller, Joane","Miller, Parker","English"],"unitid_tesim":["SP-MS-1999-001","/repositories/3/resources/706"],"normalized_date_ssm":["1790-1956"],"normalized_title_ssm":["Presidential signatures and ephemera collection of Parker and Joane Miller, 1790-1956"],"collection_title_tesim":["Presidential signatures and ephemera collection of Parker and Joane Miller, 1790-1956"],"collection_ssim":["Presidential signatures and ephemera collection of Parker and Joane Miller, 1790-1956"],"repository_ssm":["USF Libraries - St. Petersburg Special Collections \u0026 University Archives"],"repository_ssim":["USF Libraries - St. Petersburg Special Collections \u0026 University Archives"],"creator_ssm":["Miller, Joane","Miller, Parker"],"creator_ssim":["Miller, Joane","Miller, Parker"],"creator_persname_ssim":["Miller, Joane","Miller, Parker"],"creators_ssim":["Miller, Joane","Miller, Parker"],"access_terms_ssm":["None. 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A subsequent accession in August 2000 included a collection of commemorative coins from the Franklin Mint that celebrates notable events in American history."],"access_subjects_ssim":["Presidents -- United States","Ephemera"],"access_subjects_ssm":["Presidents -- United States","Ephemera"],"has_online_content_ssim":["false"],"extent_ssm":["1 boxes One large archival box (approximately 1.25 linear ft.)"],"extent_tesim":["1 boxes One large archival box (approximately 1.25 linear ft.)"],"genreform_ssim":["Ephemera"],"date_range_isim":[1790,1791,1792,1793,1794,1795,1796,1797,1798,1799,1800,1801,1802,1803,1804,1805,1806,1807,1808,1809,1810,1811,1812,1813,1814,1815,1816,1817,1818,1819,1820,1821,1822,1823,1824,1825,1826,1827,1828,1829,1830,1831,1832,1833,1834,1835,1836,1837,1838,1839,1840,1841,1842,1843,1844,1845,1846,1847,1848,1849,1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956],"bioghist_html_tesm":["\u003cp\u003eParker Everard Miller's family maintained homes in Ohio and Florida. 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Parker Miller passed away on 30 March 1997.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Parker Everard Miller's family maintained homes in Ohio and Florida. During the 1920s, members of the family often spent their winter months in St. Petersburg. By 1930, they had moved into a large home in the Jungle Shores subdivision along the waterfront side of Park Street, about ½ mile north of H. Walter Fuller's Jungle Country Club Hotel (now Admiral Farragut Academy). Parker's mother, Mrs. Helen Miller, had started to collect presidential signatures during the mid-1920s and continued to acquire documents that were placed in this scrapbook as her son completed his studies at the Florida Military Academy and Clemson University.","Parker served in the military during the Second World War. He received two purple hearts for wounds acquired during the Battle of the Bulge. Parker married Joane in the early 1950s and he took possession of his mother's scrapbook and maintained it as a family heirloom. With his interests in numismatics and American history, he began to collect commemorative coins. Parker Miller passed away on 30 March 1997."],"prefercite_html_tesm":["\u003cp\u003ePresidential signatures and ephemera collection of Parker and Joane Miller, Nelson Poynter Memorial Library Special Collections and University Archives, University of South Florida, St. Petersburg, FL.\u003c/p\u003e"],"prefercite_tesim":["Presidential signatures and ephemera collection of Parker and Joane Miller, Nelson Poynter Memorial Library Special Collections and University Archives, University of South Florida, St. Petersburg, FL."],"relatedmaterial_html_tesm":["\u003cp\u003eOther manuscript collections at the Poynter Library include presidential signatures. The library also owns framed letters written by George Washington (1786) and his Revolutionary era colleague, Benjamin Franklin (1782). For more information about other collections, please consult with staff in Special Collections and Archives.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Other manuscript collections at the Poynter Library include presidential signatures. The library also owns framed letters written by George Washington (1786) and his Revolutionary era colleague, Benjamin Franklin (1782). For more information about other collections, please consult with staff in Special Collections and Archives."],"scopecontent_html_tesm":["\u003cp\u003eA single bound notebook with individual documents signed by the first 32 Presidents of the United States (George Washington through Harry S. Truman). All signatures and documents date from 1790 to 1956. There's also commemorative coins from the Franklin Mint that celebrates notable American history events. Many signatures appear on documents created either prior to or after the official term(s) of office of the President.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["A single bound notebook with individual documents signed by the first 32 Presidents of the United States (George Washington through Harry S. Truman). All signatures and documents date from 1790 to 1956. There's also commemorative coins from the Franklin Mint that celebrates notable American history events. Many signatures appear on documents created either prior to or after the official term(s) of office of the President."],"userestrict_html_tesm":["\u003cp\u003eNone. The contents of the collection may be subject to copyright. Visit the United States Copyright Office's website at http://www.copyright.gov/ for more information.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["None. The contents of the collection may be subject to copyright. Visit the United States Copyright Office's website at http://www.copyright.gov/ for more information."],"abstract_html_tesm":["\u003cabstract id=\"aspace_18e3b491b1c5b977a2a47000d36a9ccd\"\u003eCollection of presidential signatures and related ephemera from 1790 through 1956.\u003c/abstract\u003e"],"abstract_tesim":["Collection of presidential signatures and related ephemera from 1790 through 1956."],"names_ssim":["USF Libraries - St. Petersburg Special Collections \u0026 University Archives","Miller, Joane","Miller, Parker"],"corpname_ssim":["USF Libraries - St. Petersburg Special Collections \u0026 University Archives"],"names_coll_ssim":["Miller, Joane","Miller, Parker"],"persname_ssim":["Miller, Joane","Miller, Parker"],"language_ssim":["English"],"total_component_count_is":0,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870861494388785152,"_root_":"0d751ede616e10bcbd3d47ad","timestamp":"2026-07-16T09:02:36.752Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"0d751ede616e10bcbd3d47ad","title_ssm":["Presidential signatures and ephemera collection of Parker and Joane Miller"],"title_tesim":["Presidential signatures and ephemera collection of Parker and Joane Miller"],"ead_ssi":"0d751ede616e10bcbd3d47ad","unitdate_ssm":["1790-1956"],"unitdate_inclusive_ssm":["1790-1956"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SP-MS-1999-001","/repositories/3/resources/706"],"text":["SP-MS-1999-001","/repositories/3/resources/706","Presidential signatures and ephemera collection of Parker and Joane Miller, 1790-1956","Presidents -- United States","Ephemera","Parker Everard Miller's family maintained homes in Ohio and Florida. 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Parker Miller passed away on 30 March 1997.","Other manuscript collections at the Poynter Library include presidential signatures. The library also owns framed letters written by George Washington (1786) and his Revolutionary era colleague, Benjamin Franklin (1782). For more information about other collections, please consult with staff in Special Collections and Archives.","A single bound notebook with individual documents signed by the first 32 Presidents of the United States (George Washington through Harry S. Truman). All signatures and documents date from 1790 to 1956. There's also commemorative coins from the Franklin Mint that celebrates notable American history events. Many signatures appear on documents created either prior to or after the official term(s) of office of the President.","None. The contents of the collection may be subject to copyright. Visit the United States Copyright Office's website at http://www.copyright.gov/ for more information.","Collection of presidential signatures and related ephemera from 1790 through 1956.","USF Libraries - St. Petersburg Special Collections \u0026 University Archives","Miller, Joane","Miller, Parker","English"],"unitid_tesim":["SP-MS-1999-001","/repositories/3/resources/706"],"normalized_date_ssm":["1790-1956"],"normalized_title_ssm":["Presidential signatures and ephemera collection of Parker and Joane Miller, 1790-1956"],"collection_title_tesim":["Presidential signatures and ephemera collection of Parker and Joane Miller, 1790-1956"],"collection_ssim":["Presidential signatures and ephemera collection of Parker and Joane Miller, 1790-1956"],"repository_ssm":["USF Libraries - St. Petersburg Special Collections \u0026 University Archives"],"repository_ssim":["USF Libraries - St. Petersburg Special Collections \u0026 University Archives"],"creator_ssm":["Miller, Joane","Miller, Parker"],"creator_ssim":["Miller, Joane","Miller, Parker"],"creator_persname_ssim":["Miller, Joane","Miller, Parker"],"creators_ssim":["Miller, Joane","Miller, Parker"],"access_terms_ssm":["None. The contents of the collection may be subject to copyright. Visit the United States Copyright Office's website at http://www.copyright.gov/ for more information."],"acqinfo_ssim":["Joane Miller, a resident of Redington Beach and widow of Parker E. Miller, donated the materials in this collection in two separate accessions. In early 1999, the library received a single bound notebook with individual documents signed by the first thirty-two Presidents of the United States (George Washington through Harry S. Truman). 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The library also owns framed letters written by George Washington (1786) and his Revolutionary era colleague, Benjamin Franklin (1782). For more information about other collections, please consult with staff in Special Collections and Archives.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Other manuscript collections at the Poynter Library include presidential signatures. The library also owns framed letters written by George Washington (1786) and his Revolutionary era colleague, Benjamin Franklin (1782). For more information about other collections, please consult with staff in Special Collections and Archives."],"scopecontent_html_tesm":["\u003cp\u003eA single bound notebook with individual documents signed by the first 32 Presidents of the United States (George Washington through Harry S. Truman). All signatures and documents date from 1790 to 1956. 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Visit the United States Copyright Office's website at http://www.copyright.gov/ for more information.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["None. The contents of the collection may be subject to copyright. Visit the United States Copyright Office's website at http://www.copyright.gov/ for more information."],"abstract_html_tesm":["\u003cabstract id=\"aspace_18e3b491b1c5b977a2a47000d36a9ccd\"\u003eCollection of presidential signatures and related ephemera from 1790 through 1956.\u003c/abstract\u003e"],"abstract_tesim":["Collection of presidential signatures and related ephemera from 1790 through 1956."],"names_ssim":["USF Libraries - St. Petersburg Special Collections \u0026 University Archives","Miller, Joane","Miller, Parker"],"corpname_ssim":["USF Libraries - St. Petersburg Special Collections \u0026 University Archives"],"names_coll_ssim":["Miller, Joane","Miller, Parker"],"persname_ssim":["Miller, Joane","Miller, Parker"],"language_ssim":["English"],"total_component_count_is":0,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870861494388785152,"_root_":"0d751ede616e10bcbd3d47ad","timestamp":"2026-07-16T09:02:36.752Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/0d751ede616e10bcbd3d47ad"}},{"id":"2690221f3da07a413368cb0a","type":"collection","attributes":{"title":"Price, Elsie Goldsby, Papers, 1868-1933, Date acquired: 08/00/1981","creator":{"id":"https://flvc.lyrasistechnology.org/catalog/2690221f3da07a413368cb0a#creator","type":"document_value","attributes":{"value":["Price, Elsie Goldsby"],"label":"Creator"}},"abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/2690221f3da07a413368cb0a#abstract_or_scope","type":"document_value","attributes":{"value":["\u003cp\u003ePersonal papers and photographs concerning the Boyett, Goldsby, Helton, McNair, and Adams families of Myrtle Grove, Florida (now Pensacola). Includes Pensacola High School memorabilia of 1933, and a photograph of a water baptism by the Union Hill Baptist Church of myrtle Grove.\u003c/p\u003e"],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/2690221f3da07a413368cb0a#breadcrumbs","type":"document_value","attributes":{"value":[{"id":"2690221f3da07a413368cb0a","title_ssm":["Price, Elsie Goldsby, Papers"],"title_tesim":["Price, Elsie Goldsby, Papers"],"ead_ssi":"2690221f3da07a413368cb0a","unitdate_ssm":["1868-1933","Date acquired: 08/00/1981"],"unitdate_inclusive_ssm":["1868-1933"],"unitdate_other_ssim":["Date acquired: 08/00/1981"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["M1981-17","/repositories/2/resources/288"],"text":["M1981-17","/repositories/2/resources/288","Price, Elsie Goldsby, Papers, 1868-1933, Date acquired: 08/00/1981","Myrtle Grove (Fla.)","Pensacola (Fla.)","Baptism--Baptists--Florida--Myrtle Grove--Photographs.","Photographs--Florida.","Memorabilia--Florida--Pensacola.","Open to researchers, dependent on our compliance with U.S. Copyright Law, HIPPA requirements, donor agreements and other applicable state and federal statutes.  Occasionally we may need to review a collection before permitting immediate access.","Revised 10/16/2006","Personal papers and photographs concerning the Boyett, Goldsby, Helton, McNair, and Adams families of Myrtle Grove, Florida (now Pensacola).  Includes Pensacola High School memorabilia of 1933, and a photograph of a water baptism by the Union Hill Baptist Church of myrtle Grove.","See accession 81-5 for other materials on Goldsby and Helton families of Myrtle Grove.","Digital photography, scanning, and photocopying of materials is prohibited.  Permission may be granted by the Special Collections Librarian for such reprography dependent on issues of copyright, ownership, condition, donor agreements, etc.  In general, staff do not make reproductions of copyright materials or materials for which title is not owned by the institution.  Recent revisions in the U.S. Copyright Law extended the copyright of correspondence, letters, and other personal papers to the life of the author plus seventy years.","UWF University Archives and West Florida History Center","Union Hill Baptist Church (Myrtle Grove, Fla.)","Pensacola High School.","Boyette family.","Boyett family.","Goldsby Family.","Goolsby Family.","McNair family.","Adams family.","Hilton family.","Helton family.","Price, Elsie Goldsby","English"],"unitid_tesim":["M1981-17","/repositories/2/resources/288"],"normalized_date_ssm":["1868-1933, Date acquired: 08/00/1981"],"normalized_title_ssm":["Price, Elsie Goldsby, Papers, 1868-1933, Date acquired: 08/00/1981"],"collection_title_tesim":["Price, Elsie Goldsby, Papers, 1868-1933, Date acquired: 08/00/1981"],"collection_ssim":["Price, Elsie Goldsby, Papers, 1868-1933, Date acquired: 08/00/1981"],"repository_ssm":["UWF University Archives and West Florida History Center"],"repository_ssim":["UWF University Archives and West Florida History Center"],"geogname_ssm":["Myrtle Grove (Fla.)","Pensacola (Fla.)"],"geogname_ssim":["Myrtle Grove (Fla.)","Pensacola (Fla.)"],"creator_ssm":["Price, Elsie Goldsby"],"creator_ssim":["Price, Elsie Goldsby"],"creator_persname_ssim":["Price, Elsie Goldsby"],"creators_ssim":["Price, Elsie Goldsby"],"places_ssim":["Myrtle Grove (Fla.)","Pensacola (Fla.)"],"access_terms_ssm":["Digital photography, scanning, and photocopying of materials is prohibited.  Permission may be granted by the Special Collections Librarian for such reprography dependent on issues of copyright, ownership, condition, donor agreements, etc.  In general, staff do not make reproductions of copyright materials or materials for which title is not owned by the institution.  Recent revisions in the U.S. Copyright Law extended the copyright of correspondence, letters, and other personal papers to the life of the author plus seventy years."],"acqinfo_ssim":["Elsie Goldsby Price, Pensacola, Fla., August 1981"],"access_subjects_ssim":["Baptism--Baptists--Florida--Myrtle Grove--Photographs.","Photographs--Florida.","Memorabilia--Florida--Pensacola."],"access_subjects_ssm":["Baptism--Baptists--Florida--Myrtle Grove--Photographs.","Photographs--Florida.","Memorabilia--Florida--Pensacola."],"has_online_content_ssim":["false"],"extent_ssm":["36.00 items"],"extent_tesim":["36.00 items"],"genreform_ssim":["Photographs--Florida.","Memorabilia--Florida--Pensacola."],"date_range_isim":[1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933],"accessrestrict_html_tesm":["\u003cp\u003eOpen to researchers, dependent on our compliance with U.S. Copyright Law, HIPPA requirements, donor agreements and other applicable state and federal statutes.  Occasionally we may need to review a collection before permitting immediate access.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Open to researchers, dependent on our compliance with U.S. Copyright Law, HIPPA requirements, donor agreements and other applicable state and federal statutes.  Occasionally we may need to review a collection before permitting immediate access."],"processinfo_html_tesm":["\u003cp\u003eRevised 10/16/2006\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Revised 10/16/2006"],"scopecontent_html_tesm":["\u003cp\u003ePersonal papers and photographs concerning the Boyett, Goldsby, Helton, McNair, and Adams families of Myrtle Grove, Florida (now Pensacola).  Includes Pensacola High School memorabilia of 1933, and a photograph of a water baptism by the Union Hill Baptist Church of myrtle Grove.\u003c/p\u003e\n","\u003cp\u003eSee accession 81-5 for other materials on Goldsby and Helton families of Myrtle Grove.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Personal papers and photographs concerning the Boyett, Goldsby, Helton, McNair, and Adams families of Myrtle Grove, Florida (now Pensacola).  Includes Pensacola High School memorabilia of 1933, and a photograph of a water baptism by the Union Hill Baptist Church of myrtle Grove.","See accession 81-5 for other materials on Goldsby and Helton families of Myrtle Grove."],"userestrict_html_tesm":["\u003cp\u003eDigital photography, scanning, and photocopying of materials is prohibited.  Permission may be granted by the Special Collections Librarian for such reprography dependent on issues of copyright, ownership, condition, donor agreements, etc.  In general, staff do not make reproductions of copyright materials or materials for which title is not owned by the institution.  Recent revisions in the U.S. Copyright Law extended the copyright of correspondence, letters, and other personal papers to the life of the author plus seventy years.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Digital photography, scanning, and photocopying of materials is prohibited.  Permission may be granted by the Special Collections Librarian for such reprography dependent on issues of copyright, ownership, condition, donor agreements, etc.  In general, staff do not make reproductions of copyright materials or materials for which title is not owned by the institution.  Recent revisions in the U.S. Copyright Law extended the copyright of correspondence, letters, and other personal papers to the life of the author plus seventy years."],"names_coll_ssim":["Union Hill Baptist Church (Myrtle Grove, Fla.)","Pensacola High School.","Boyette family.","Boyett family.","Goldsby Family.","Goolsby Family.","McNair family.","Adams family.","Hilton family.","Helton family."],"names_ssim":["UWF University Archives and West Florida History Center","Union Hill Baptist Church (Myrtle Grove, Fla.)","Pensacola High School.","Boyette family.","Boyett family.","Goldsby Family.","Goolsby Family.","McNair family.","Adams family.","Hilton family.","Helton family.","Price, Elsie Goldsby"],"corpname_ssim":["UWF University Archives and West Florida History Center","Union Hill Baptist Church (Myrtle Grove, Fla.)","Pensacola High School."],"famname_ssim":["Boyette family.","Boyett family.","Goldsby Family.","Goolsby Family.","McNair family.","Adams family.","Hilton family.","Helton family."],"persname_ssim":["Price, Elsie Goldsby"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":3,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"2690221f3da07a413368cb0a","timestamp":"2026-04-21T04:29:25.640Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"2690221f3da07a413368cb0a","title_ssm":["Price, Elsie Goldsby, Papers"],"title_tesim":["Price, Elsie Goldsby, Papers"],"ead_ssi":"2690221f3da07a413368cb0a","unitdate_ssm":["1868-1933","Date acquired: 08/00/1981"],"unitdate_inclusive_ssm":["1868-1933"],"unitdate_other_ssim":["Date acquired: 08/00/1981"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["M1981-17","/repositories/2/resources/288"],"text":["M1981-17","/repositories/2/resources/288","Price, Elsie Goldsby, Papers, 1868-1933, Date acquired: 08/00/1981","Myrtle Grove (Fla.)","Pensacola (Fla.)","Baptism--Baptists--Florida--Myrtle Grove--Photographs.","Photographs--Florida.","Memorabilia--Florida--Pensacola.","Open to researchers, dependent on our compliance with U.S. Copyright Law, HIPPA requirements, donor agreements and other applicable state and federal statutes.  Occasionally we may need to review a collection before permitting immediate access.","Revised 10/16/2006","Personal papers and photographs concerning the Boyett, Goldsby, Helton, McNair, and Adams families of Myrtle Grove, Florida (now Pensacola).  Includes Pensacola High School memorabilia of 1933, and a photograph of a water baptism by the Union Hill Baptist Church of myrtle Grove.","See accession 81-5 for other materials on Goldsby and Helton families of Myrtle Grove.","Digital photography, scanning, and photocopying of materials is prohibited.  Permission may be granted by the Special Collections Librarian for such reprography dependent on issues of copyright, ownership, condition, donor agreements, etc.  In general, staff do not make reproductions of copyright materials or materials for which title is not owned by the institution.  Recent revisions in the U.S. Copyright Law extended the copyright of correspondence, letters, and other personal papers to the life of the author plus seventy years.","UWF University Archives and West Florida History Center","Union Hill Baptist Church (Myrtle Grove, Fla.)","Pensacola High School.","Boyette family.","Boyett family.","Goldsby Family.","Goolsby Family.","McNair family.","Adams family.","Hilton family.","Helton family.","Price, Elsie Goldsby","English"],"unitid_tesim":["M1981-17","/repositories/2/resources/288"],"normalized_date_ssm":["1868-1933, Date acquired: 08/00/1981"],"normalized_title_ssm":["Price, Elsie Goldsby, Papers, 1868-1933, Date acquired: 08/00/1981"],"collection_title_tesim":["Price, Elsie Goldsby, Papers, 1868-1933, Date acquired: 08/00/1981"],"collection_ssim":["Price, Elsie Goldsby, Papers, 1868-1933, Date acquired: 08/00/1981"],"repository_ssm":["UWF University Archives and West Florida History Center"],"repository_ssim":["UWF University Archives and West Florida History Center"],"geogname_ssm":["Myrtle Grove (Fla.)","Pensacola (Fla.)"],"geogname_ssim":["Myrtle Grove (Fla.)","Pensacola (Fla.)"],"creator_ssm":["Price, Elsie Goldsby"],"creator_ssim":["Price, Elsie Goldsby"],"creator_persname_ssim":["Price, Elsie Goldsby"],"creators_ssim":["Price, Elsie Goldsby"],"places_ssim":["Myrtle Grove (Fla.)","Pensacola (Fla.)"],"access_terms_ssm":["Digital photography, scanning, and photocopying of materials is prohibited.  Permission may be granted by the Special Collections Librarian for such reprography dependent on issues of copyright, ownership, condition, donor agreements, etc.  In general, staff do not make reproductions of copyright materials or materials for which title is not owned by the institution.  Recent revisions in the U.S. Copyright Law extended the copyright of correspondence, letters, and other personal papers to the life of the author plus seventy years."],"acqinfo_ssim":["Elsie Goldsby Price, Pensacola, Fla., August 1981"],"access_subjects_ssim":["Baptism--Baptists--Florida--Myrtle Grove--Photographs.","Photographs--Florida.","Memorabilia--Florida--Pensacola."],"access_subjects_ssm":["Baptism--Baptists--Florida--Myrtle Grove--Photographs.","Photographs--Florida.","Memorabilia--Florida--Pensacola."],"has_online_content_ssim":["false"],"extent_ssm":["36.00 items"],"extent_tesim":["36.00 items"],"genreform_ssim":["Photographs--Florida.","Memorabilia--Florida--Pensacola."],"date_range_isim":[1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933],"accessrestrict_html_tesm":["\u003cp\u003eOpen to researchers, dependent on our compliance with U.S. Copyright Law, HIPPA requirements, donor agreements and other applicable state and federal statutes.  Occasionally we may need to review a collection before permitting immediate access.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Open to researchers, dependent on our compliance with U.S. Copyright Law, HIPPA requirements, donor agreements and other applicable state and federal statutes.  Occasionally we may need to review a collection before permitting immediate access."],"processinfo_html_tesm":["\u003cp\u003eRevised 10/16/2006\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Revised 10/16/2006"],"scopecontent_html_tesm":["\u003cp\u003ePersonal papers and photographs concerning the Boyett, Goldsby, Helton, McNair, and Adams families of Myrtle Grove, Florida (now Pensacola).  Includes Pensacola High School memorabilia of 1933, and a photograph of a water baptism by the Union Hill Baptist Church of myrtle Grove.\u003c/p\u003e\n","\u003cp\u003eSee accession 81-5 for other materials on Goldsby and Helton families of Myrtle Grove.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Personal papers and photographs concerning the Boyett, Goldsby, Helton, McNair, and Adams families of Myrtle Grove, Florida (now Pensacola).  Includes Pensacola High School memorabilia of 1933, and a photograph of a water baptism by the Union Hill Baptist Church of myrtle Grove.","See accession 81-5 for other materials on Goldsby and Helton families of Myrtle Grove."],"userestrict_html_tesm":["\u003cp\u003eDigital photography, scanning, and photocopying of materials is prohibited.  Permission may be granted by the Special Collections Librarian for such reprography dependent on issues of copyright, ownership, condition, donor agreements, etc.  In general, staff do not make reproductions of copyright materials or materials for which title is not owned by the institution.  Recent revisions in the U.S. Copyright Law extended the copyright of correspondence, letters, and other personal papers to the life of the author plus seventy years.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Digital photography, scanning, and photocopying of materials is prohibited.  Permission may be granted by the Special Collections Librarian for such reprography dependent on issues of copyright, ownership, condition, donor agreements, etc.  In general, staff do not make reproductions of copyright materials or materials for which title is not owned by the institution.  Recent revisions in the U.S. Copyright Law extended the copyright of correspondence, letters, and other personal papers to the life of the author plus seventy years."],"names_coll_ssim":["Union Hill Baptist Church (Myrtle Grove, Fla.)","Pensacola High School.","Boyette family.","Boyett family.","Goldsby Family.","Goolsby Family.","McNair family.","Adams family.","Hilton family.","Helton family."],"names_ssim":["UWF University Archives and West Florida History Center","Union Hill Baptist Church (Myrtle Grove, Fla.)","Pensacola High School.","Boyette family.","Boyett family.","Goldsby Family.","Goolsby Family.","McNair family.","Adams family.","Hilton family.","Helton family.","Price, Elsie Goldsby"],"corpname_ssim":["UWF University Archives and West Florida History Center","Union Hill Baptist Church (Myrtle Grove, Fla.)","Pensacola High School."],"famname_ssim":["Boyette family.","Boyett family.","Goldsby Family.","Goolsby Family.","McNair family.","Adams family.","Hilton family.","Helton family."],"persname_ssim":["Price, Elsie Goldsby"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":3,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"2690221f3da07a413368cb0a","timestamp":"2026-04-21T04:29:25.640Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/2690221f3da07a413368cb0a"}},{"id":"8a61542c8fc573c0fcf1e829","type":"collection","attributes":{"title":"Rabbi Abraham J. Rose Music Collection, 1887-1988, bulk 1921-1958","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/8a61542c8fc573c0fcf1e829#abstract_or_scope","type":"document_value","attributes":{"value":["\u003cp\u003eThe collection of Rabbi Abraham J. Rose consists of manuscript music, print music, and personal papers relating to his professional life as a cantor. Music books have been cataloged and relocated to Rare Books. Rabbi Rose (1901-1987) was born in Berezhany in what is modern-day Ukraine. He came to the United States with his family in 1910. He was trained as a cantor before becoming rabbi of Congregation Kneseth Israel in Elgin, Illinois. He served as their rabbi for 25 years before moving to South Florida. Rabbi Rose also served as the first president of the Cantors Assembly and the Department of Music of the United Synagogue of America. Both of his sons Emanuel Rose and David Hillel Rose, followed in their father's footsteps and became rabbis.\u003c/p\u003e"],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/8a61542c8fc573c0fcf1e829#breadcrumbs","type":"document_value","attributes":{"value":[{"id":"8a61542c8fc573c0fcf1e829","title_ssm":["Rabbi Abraham J. Rose Music Collection"],"title_tesim":["Rabbi Abraham J. Rose Music Collection"],"ead_ssi":"8a61542c8fc573c0fcf1e829","unitdate_ssm":["1887-1988","1921-1958"],"unitdate_bulk_ssim":["1921-1958"],"unitdate_inclusive_ssm":["1887-1988"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["PMC00014","/repositories/2/resources/73"],"text":["PMC00014","/repositories/2/resources/73","Rabbi Abraham J. Rose Music Collection, 1887-1988, bulk 1921-1958","Collections are available for supervised use in the Special Collections reading room during regular hours or by appointment. Users are required to complete a registration form and to comply with regulations governing use. Research assistance may be available but please email or phone first to set up an appointment.","Photocopies or electronic copies of material in the collections may be provided within copyright limits but may not be ready immediately. In addition, selected materials are digitized and available electronically through the Digital Library.","In 2013 this collection was processed by Elizabeth Fairall and Victoria Thur.","The collection of Rabbi Abraham J. Rose consists of manuscript music, print music, and personal papers relating to his professional life as a cantor. Music books have been cataloged and relocated to Rare Books. Rabbi Rose (1901-1987) was born in Berezhany in what is modern-day Ukraine. He came to the United States with his family in 1910. He was trained as a cantor before becoming rabbi of Congregation Kneseth Israel in Elgin, Illinois. He served as their rabbi for 25 years before moving to South Florida. Rabbi Rose also served as the first president of the Cantors Assembly and the Department of Music of the United Synagogue of America. Both of his sons Emanuel Rose and David Hillel Rose, followed in their father's footsteps and became rabbis.","Materials in the collections are to be used for private study, scholarship, or research in accord with the copyright law of the United States (Title 17, United States Code). FAU Libraries adhere to all conditions specified in the law when providing reproductions of copyrighted material. Any subsequent use of a reproduction in excess of \" fair use,\" may result in the user's liability for copyright infringement.","When using electronic copies or images, please keep in mind that copyright law applies. It is the responsibility of the researcher to obtain copyright permission from the rights holder when copying material in excess of fair use. Restriction in the copying of materials may be imposed if the researcher does not have written permission from the rights holder.","Should the researcher use or reproduce special collections material when submitting or publishing his or her own writing or research, the author should credit Florida Atlantic University Libraries Special Collections. If research at FAU Special Collections results in publication, we would appreciate citation information that would allow us to reference that work to future researchers. Also, If the researcher desires to reuse material for commercial use, please contact  Special Collections .","Florida Atlantic University Libraries","English"],"unitid_tesim":["PMC00014","/repositories/2/resources/73"],"normalized_date_ssm":["1887-1988, bulk 1921-1958"],"normalized_title_ssm":["Rabbi Abraham J. Rose Music Collection, 1887-1988, bulk 1921-1958"],"collection_title_tesim":["Rabbi Abraham J. 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Restriction in the copying of materials may be imposed if the researcher does not have written permission from the rights holder.","Should the researcher use or reproduce special collections material when submitting or publishing his or her own writing or research, the author should credit Florida Atlantic University Libraries Special Collections. If research at FAU Special Collections results in publication, we would appreciate citation information that would allow us to reference that work to future researchers. Also, If the researcher desires to reuse material for commercial use, please contact  Special Collections ."],"acqinfo_ssim":["Donation"],"has_online_content_ssim":["false"],"extent_ssm":["8.50 Linear Feet"],"extent_tesim":["8.50 Linear Feet"],"date_range_isim":[1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988],"accessrestrict_html_tesm":["\u003cp\u003eCollections are available for supervised use in the Special Collections reading room during regular hours or by appointment. Users are required to complete a registration form and to comply with regulations governing use. Research assistance may be available but please email or phone first to set up an appointment.\u003c/p\u003e\n","\u003cp\u003ePhotocopies or electronic copies of material in the collections may be provided within copyright limits but may not be ready immediately. In addition, selected materials are digitized and available electronically through the Digital Library.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Collections are available for supervised use in the Special Collections reading room during regular hours or by appointment. Users are required to complete a registration form and to comply with regulations governing use. Research assistance may be available but please email or phone first to set up an appointment.","Photocopies or electronic copies of material in the collections may be provided within copyright limits but may not be ready immediately. In addition, selected materials are digitized and available electronically through the Digital Library."],"prefercite_html_tesm":["\u003cp\u003eCollection Title including series, if any; Box and item number; Special Collections; Florida Atlantic University Libraries, Boca Raton, Florida.\u003c/p\u003e"],"prefercite_tesim":["Collection Title including series, if any; Box and item number; Special Collections; Florida Atlantic University Libraries, Boca Raton, Florida."],"processinfo_html_tesm":["\u003cp\u003eIn 2013 this collection was processed by Elizabeth Fairall and Victoria Thur.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["In 2013 this collection was processed by Elizabeth Fairall and Victoria Thur."],"scopecontent_html_tesm":["\u003cp\u003eThe collection of Rabbi Abraham J. Rose consists of manuscript music, print music, and personal papers relating to his professional life as a cantor. Music books have been cataloged and relocated to Rare Books. Rabbi Rose (1901-1987) was born in Berezhany in what is modern-day Ukraine. He came to the United States with his family in 1910. He was trained as a cantor before becoming rabbi of Congregation Kneseth Israel in Elgin, Illinois. He served as their rabbi for 25 years before moving to South Florida. Rabbi Rose also served as the first president of the Cantors Assembly and the Department of Music of the United Synagogue of America. Both of his sons Emanuel Rose and David Hillel Rose, followed in their father's footsteps and became rabbis.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The collection of Rabbi Abraham J. Rose consists of manuscript music, print music, and personal papers relating to his professional life as a cantor. Music books have been cataloged and relocated to Rare Books. Rabbi Rose (1901-1987) was born in Berezhany in what is modern-day Ukraine. He came to the United States with his family in 1910. He was trained as a cantor before becoming rabbi of Congregation Kneseth Israel in Elgin, Illinois. He served as their rabbi for 25 years before moving to South Florida. Rabbi Rose also served as the first president of the Cantors Assembly and the Department of Music of the United Synagogue of America. Both of his sons Emanuel Rose and David Hillel Rose, followed in their father's footsteps and became rabbis."],"userestrict_html_tesm":["\u003cp\u003eMaterials in the collections are to be used for private study, scholarship, or research in accord with the copyright law of the United States (Title 17, United States Code). FAU Libraries adhere to all conditions specified in the law when providing reproductions of copyrighted material. Any subsequent use of a reproduction in excess of \" fair use,\" may result in the user's liability for copyright infringement.\u003c/p\u003e\n","\u003cp\u003eWhen using electronic copies or images, please keep in mind that copyright law applies. It is the responsibility of the researcher to obtain copyright permission from the rights holder when copying material in excess of fair use. Restriction in the copying of materials may be imposed if the researcher does not have written permission from the rights holder.\u003c/p\u003e\n","\u003cp\u003eShould the researcher use or reproduce special collections material when submitting or publishing his or her own writing or research, the author should credit Florida Atlantic University Libraries Special Collections. If research at FAU Special Collections results in publication, we would appreciate citation information that would allow us to reference that work to future researchers. Also, If the researcher desires to reuse material for commercial use, please contact \u003ca href=\"mailto:lysca@fau.edu\"\u003eSpecial Collections\u003c/a\u003e.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Materials in the collections are to be used for private study, scholarship, or research in accord with the copyright law of the United States (Title 17, United States Code). FAU Libraries adhere to all conditions specified in the law when providing reproductions of copyrighted material. Any subsequent use of a reproduction in excess of \" fair use,\" may result in the user's liability for copyright infringement.","When using electronic copies or images, please keep in mind that copyright law applies. It is the responsibility of the researcher to obtain copyright permission from the rights holder when copying material in excess of fair use. Restriction in the copying of materials may be imposed if the researcher does not have written permission from the rights holder.","Should the researcher use or reproduce special collections material when submitting or publishing his or her own writing or research, the author should credit Florida Atlantic University Libraries Special Collections. If research at FAU Special Collections results in publication, we would appreciate citation information that would allow us to reference that work to future researchers. Also, If the researcher desires to reuse material for commercial use, please contact  Special Collections ."],"names_ssim":["Florida Atlantic University Libraries"],"corpname_ssim":["Florida Atlantic University Libraries"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":888,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870842153000763392,"_root_":"8a61542c8fc573c0fcf1e829","timestamp":"2026-07-16T03:55:11.275Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"8a61542c8fc573c0fcf1e829","title_ssm":["Rabbi Abraham J. Rose Music Collection"],"title_tesim":["Rabbi Abraham J. 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In addition, selected materials are digitized and available electronically through the Digital Library.","In 2013 this collection was processed by Elizabeth Fairall and Victoria Thur.","The collection of Rabbi Abraham J. Rose consists of manuscript music, print music, and personal papers relating to his professional life as a cantor. Music books have been cataloged and relocated to Rare Books. Rabbi Rose (1901-1987) was born in Berezhany in what is modern-day Ukraine. He came to the United States with his family in 1910. He was trained as a cantor before becoming rabbi of Congregation Kneseth Israel in Elgin, Illinois. He served as their rabbi for 25 years before moving to South Florida. Rabbi Rose also served as the first president of the Cantors Assembly and the Department of Music of the United Synagogue of America. Both of his sons Emanuel Rose and David Hillel Rose, followed in their father's footsteps and became rabbis.","Materials in the collections are to be used for private study, scholarship, or research in accord with the copyright law of the United States (Title 17, United States Code). FAU Libraries adhere to all conditions specified in the law when providing reproductions of copyrighted material. Any subsequent use of a reproduction in excess of \" fair use,\" may result in the user's liability for copyright infringement.","When using electronic copies or images, please keep in mind that copyright law applies. It is the responsibility of the researcher to obtain copyright permission from the rights holder when copying material in excess of fair use. Restriction in the copying of materials may be imposed if the researcher does not have written permission from the rights holder.","Should the researcher use or reproduce special collections material when submitting or publishing his or her own writing or research, the author should credit Florida Atlantic University Libraries Special Collections. If research at FAU Special Collections results in publication, we would appreciate citation information that would allow us to reference that work to future researchers. Also, If the researcher desires to reuse material for commercial use, please contact  Special Collections .","Florida Atlantic University Libraries","English"],"unitid_tesim":["PMC00014","/repositories/2/resources/73"],"normalized_date_ssm":["1887-1988, bulk 1921-1958"],"normalized_title_ssm":["Rabbi Abraham J. Rose Music Collection, 1887-1988, bulk 1921-1958"],"collection_title_tesim":["Rabbi Abraham J. 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Restriction in the copying of materials may be imposed if the researcher does not have written permission from the rights holder.","Should the researcher use or reproduce special collections material when submitting or publishing his or her own writing or research, the author should credit Florida Atlantic University Libraries Special Collections. If research at FAU Special Collections results in publication, we would appreciate citation information that would allow us to reference that work to future researchers. Also, If the researcher desires to reuse material for commercial use, please contact  Special Collections ."],"acqinfo_ssim":["Donation"],"has_online_content_ssim":["false"],"extent_ssm":["8.50 Linear Feet"],"extent_tesim":["8.50 Linear Feet"],"date_range_isim":[1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988],"accessrestrict_html_tesm":["\u003cp\u003eCollections are available for supervised use in the Special Collections reading room during regular hours or by appointment. 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Research assistance may be available but please email or phone first to set up an appointment.","Photocopies or electronic copies of material in the collections may be provided within copyright limits but may not be ready immediately. In addition, selected materials are digitized and available electronically through the Digital Library."],"prefercite_html_tesm":["\u003cp\u003eCollection Title including series, if any; Box and item number; Special Collections; Florida Atlantic University Libraries, Boca Raton, Florida.\u003c/p\u003e"],"prefercite_tesim":["Collection Title including series, if any; Box and item number; Special Collections; Florida Atlantic University Libraries, Boca Raton, Florida."],"processinfo_html_tesm":["\u003cp\u003eIn 2013 this collection was processed by Elizabeth Fairall and Victoria Thur.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["In 2013 this collection was processed by Elizabeth Fairall and Victoria Thur."],"scopecontent_html_tesm":["\u003cp\u003eThe collection of Rabbi Abraham J. Rose consists of manuscript music, print music, and personal papers relating to his professional life as a cantor. Music books have been cataloged and relocated to Rare Books. Rabbi Rose (1901-1987) was born in Berezhany in what is modern-day Ukraine. He came to the United States with his family in 1910. He was trained as a cantor before becoming rabbi of Congregation Kneseth Israel in Elgin, Illinois. He served as their rabbi for 25 years before moving to South Florida. Rabbi Rose also served as the first president of the Cantors Assembly and the Department of Music of the United Synagogue of America. Both of his sons Emanuel Rose and David Hillel Rose, followed in their father's footsteps and became rabbis.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The collection of Rabbi Abraham J. Rose consists of manuscript music, print music, and personal papers relating to his professional life as a cantor. Music books have been cataloged and relocated to Rare Books. Rabbi Rose (1901-1987) was born in Berezhany in what is modern-day Ukraine. He came to the United States with his family in 1910. He was trained as a cantor before becoming rabbi of Congregation Kneseth Israel in Elgin, Illinois. He served as their rabbi for 25 years before moving to South Florida. Rabbi Rose also served as the first president of the Cantors Assembly and the Department of Music of the United Synagogue of America. Both of his sons Emanuel Rose and David Hillel Rose, followed in their father's footsteps and became rabbis."],"userestrict_html_tesm":["\u003cp\u003eMaterials in the collections are to be used for private study, scholarship, or research in accord with the copyright law of the United States (Title 17, United States Code). FAU Libraries adhere to all conditions specified in the law when providing reproductions of copyrighted material. Any subsequent use of a reproduction in excess of \" fair use,\" may result in the user's liability for copyright infringement.\u003c/p\u003e\n","\u003cp\u003eWhen using electronic copies or images, please keep in mind that copyright law applies. It is the responsibility of the researcher to obtain copyright permission from the rights holder when copying material in excess of fair use. Restriction in the copying of materials may be imposed if the researcher does not have written permission from the rights holder.\u003c/p\u003e\n","\u003cp\u003eShould the researcher use or reproduce special collections material when submitting or publishing his or her own writing or research, the author should credit Florida Atlantic University Libraries Special Collections. If research at FAU Special Collections results in publication, we would appreciate citation information that would allow us to reference that work to future researchers. 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