{"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1925\u0026f%5Blevel%5D%5B%5D=Collection\u0026page=12","prev":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1925\u0026f%5Blevel%5D%5B%5D=Collection\u0026page=11","next":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1925\u0026f%5Blevel%5D%5B%5D=Collection\u0026page=13","last":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1925\u0026f%5Blevel%5D%5B%5D=Collection\u0026page=75"},"meta":{"pages":{"current_page":12,"next_page":13,"prev_page":11,"total_pages":75,"limit_value":10,"offset_value":110,"total_count":745,"first_page?":false,"last_page?":false}},"data":[{"id":"df5f33ab57ee6e767c26a104","type":"collection","attributes":{"title":"Cienfuegos Collection, 1819-1991","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/df5f33ab57ee6e767c26a104#abstract_or_scope","type":"document_value","attributes":{"value":["\u003cp\u003eThe materials in this collection gather resources to aid in the research of the commercial, eclesiastical, economic, and geographical history of Cienfuegos, Cuba, as well as featuring texts on important figures and locations. 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Researchers must contact Special Collections \u0026 University Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the SPCUA's ability to provide access to unprocessed born digital materials.","Cienfuegos, Cuba was founded in 1819 by French colonists, then deemed Fernandina de Jagua for King Ferdinand VII of Spain and Chief Jagua by early Spanish conquistadors. Cienfuegos, being a port city, became a center of the growing trade of crops such as coffee, sugarcane, and tobacco, as well as serving as a hub for Cuba's shrimp industry. The city's commercial success coincided with Cuba's sugar boom, making Cienfuegos one of the country's most economically important cities. The city later became a key industrial center in the mid-20th century, following the city's revolt against Fulgencio Batista y Zaldivar, former elected president of Cuba and military dictator who was overthrown during the Cuban Revolution. The aftermath of the Revolution ushered forth a new age of development in Cienfuegos. It now houses a UNESCO World Heritage Site in its city center, designated so in 2005 for its model of mordern Spanish American urbanism, and the integrity with which the original historical structures have been preserved and further maintained in newer developments.","The materials in this collection gather resources to aid in the research of the commercial, eclesiastical, economic, and geographical history of Cienfuegos, Cuba, as well as featuring texts on important figures and locations. 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The city later became a key industrial center in the mid-20th century, following the city's revolt against Fulgencio Batista y Zaldivar, former elected president of Cuba and military dictator who was overthrown during the Cuban Revolution. The aftermath of the Revolution ushered forth a new age of development in Cienfuegos. It now houses a UNESCO World Heritage Site in its city center, designated so in 2005 for its model of mordern Spanish American urbanism, and the integrity with which the original historical structures have been preserved and further maintained in newer developments."],"scopecontent_html_tesm":["\u003cp\u003eThe materials in this collection gather resources to aid in the research of the commercial, eclesiastical, economic, and geographical history of Cienfuegos, Cuba, as well as featuring texts on important figures and locations. 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Researchers must contact Special Collections \u0026 University Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the SPCUA's ability to provide access to unprocessed born digital materials.","Cienfuegos, Cuba was founded in 1819 by French colonists, then deemed Fernandina de Jagua for King Ferdinand VII of Spain and Chief Jagua by early Spanish conquistadors. Cienfuegos, being a port city, became a center of the growing trade of crops such as coffee, sugarcane, and tobacco, as well as serving as a hub for Cuba's shrimp industry. The city's commercial success coincided with Cuba's sugar boom, making Cienfuegos one of the country's most economically important cities. 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It includes full texts and editions of regional newspapers, as well as the more intimate look at sketches, blueprints, seals, and correspondence, postcards, and business cards.","The Cienfuegos Collection is owned by Florida International University.  This collection is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. 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The city later became a key industrial center in the mid-20th century, following the city's revolt against Fulgencio Batista y Zaldivar, former elected president of Cuba and military dictator who was overthrown during the Cuban Revolution. The aftermath of the Revolution ushered forth a new age of development in Cienfuegos. It now houses a UNESCO World Heritage Site in its city center, designated so in 2005 for its model of mordern Spanish American urbanism, and the integrity with which the original historical structures have been preserved and further maintained in newer developments."],"scopecontent_html_tesm":["\u003cp\u003eThe materials in this collection gather resources to aid in the research of the commercial, eclesiastical, economic, and geographical history of Cienfuegos, Cuba, as well as featuring texts on important figures and locations. 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For other uses you need to obtain permission from the rights-holder(s).\u003c/p\u003e\n","\u003cp\u003eFor more information please visit: https://library.fiu.edu/find/copyright/general\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["The Cienfuegos Collection is owned by Florida International University.  This collection is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. 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Included are documents related to labor union organizing at local levels and membership to the Cigar Makers' International Union of America, tobacco industry publications, cigar art, advertisements, and other assorted documents.","USF Libraries - Tampa Special Collections","English"],"unitid_tesim":["MS-1995-11","/repositories/2/resources/638"],"normalized_date_ssm":["1900-1995"],"normalized_title_ssm":["Cigar Industry supplementary material, 1900-1995"],"collection_title_tesim":["Cigar Industry supplementary material, 1900-1995"],"collection_ssim":["Cigar Industry supplementary material, 1900-1995"],"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."],"access_subjects_ssim":["Cigar industry","Cigar industry -- Florida -- Tampa","Cigar industry -- History","Labor unions","Labor unions -- Florida","Immigrants -- Florida -- History","Tobacco industry","Tobacco industry -- Florida"],"access_subjects_ssm":["Cigar industry","Cigar industry -- Florida -- Tampa","Cigar industry -- History","Labor unions","Labor unions -- Florida","Immigrants -- Florida -- History","Tobacco industry","Tobacco industry -- Florida"],"has_online_content_ssim":["false"],"extent_ssm":["1 boxes","0.42 Linear Feet"],"extent_tesim":["1 boxes","0.42 Linear Feet"],"date_range_isim":[1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995],"arrangement_html_tesm":["\u003cp\u003eMaterials are arranged topically.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Materials are arranged topically."],"prefercite_html_tesm":["\u003cp\u003eCigar Industry Supplementary Material, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"prefercite_tesim":["Cigar Industry Supplementary Material, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"scopecontent_html_tesm":["\u003cp\u003eMaterials in the collection include cigar factory brochures, tobacco industry collectable catalogs, periodicals, manuscripts, photographs, union booklets, ephemera, cigar art and advertisements, correspondence, event programs, clippings, and other assorted items.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Materials in the collection include cigar factory brochures, tobacco industry collectable catalogs, periodicals, manuscripts, photographs, union booklets, ephemera, cigar art and advertisements, correspondence, event programs, clippings, and other assorted items."],"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."],"abstract_html_tesm":["\u003cabstract id=\"aspace_338bf1cf1c0a08ff9acffcbd8be08899\"\u003eThis collection contains materials related to the cigar and tobacco industry in the United States, with a focus on Tampa manufacturers. Included are documents related to labor union organizing at local levels and membership to the Cigar Makers' International Union of America, tobacco industry publications, cigar art, advertisements, and other assorted documents.\u003c/abstract\u003e"],"abstract_tesim":["This collection contains materials related to the cigar and tobacco industry in the United States, with a focus on Tampa manufacturers. Included are documents related to labor union organizing at local levels and membership to the Cigar Makers' International Union of America, tobacco industry publications, cigar art, advertisements, and other assorted documents."],"names_ssim":["USF Libraries - Tampa Special Collections"],"corpname_ssim":["USF Libraries - Tampa Special Collections"],"language_ssim":["English"],"total_component_count_is":88,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"3a2a2bd1f653ffea6555f77b","timestamp":"2026-07-10T05:12:43.897Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"3a2a2bd1f653ffea6555f77b","title_ssm":["Cigar Industry supplementary material"],"title_tesim":["Cigar Industry supplementary material"],"ead_ssi":"3a2a2bd1f653ffea6555f77b","unitdate_ssm":["1900-1995"],"unitdate_inclusive_ssm":["1900-1995"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS-1995-11","/repositories/2/resources/638"],"text":["MS-1995-11","/repositories/2/resources/638","Cigar Industry supplementary material, 1900-1995","Cigar industry","Cigar industry -- Florida -- Tampa","Cigar industry -- History","Labor unions","Labor unions -- Florida","Immigrants -- Florida -- History","Tobacco industry","Tobacco industry -- Florida","Materials are arranged topically.","Materials in the collection include cigar factory brochures, tobacco industry collectable catalogs, periodicals, manuscripts, photographs, union booklets, ephemera, cigar art and advertisements, correspondence, event programs, clippings, and other assorted items.","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.","This collection contains materials related to the cigar and tobacco industry in the United States, with a focus on Tampa manufacturers. Included are documents related to labor union organizing at local levels and membership to the Cigar Makers' International Union of America, tobacco industry publications, cigar art, advertisements, and other assorted documents.","USF Libraries - Tampa Special Collections","English"],"unitid_tesim":["MS-1995-11","/repositories/2/resources/638"],"normalized_date_ssm":["1900-1995"],"normalized_title_ssm":["Cigar Industry supplementary material, 1900-1995"],"collection_title_tesim":["Cigar Industry supplementary material, 1900-1995"],"collection_ssim":["Cigar Industry supplementary material, 1900-1995"],"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."],"access_subjects_ssim":["Cigar industry","Cigar industry -- Florida -- Tampa","Cigar industry -- History","Labor unions","Labor unions -- Florida","Immigrants -- Florida -- History","Tobacco industry","Tobacco industry -- Florida"],"access_subjects_ssm":["Cigar industry","Cigar industry -- Florida -- Tampa","Cigar industry -- History","Labor unions","Labor unions -- Florida","Immigrants -- Florida -- History","Tobacco industry","Tobacco industry -- Florida"],"has_online_content_ssim":["false"],"extent_ssm":["1 boxes","0.42 Linear Feet"],"extent_tesim":["1 boxes","0.42 Linear Feet"],"date_range_isim":[1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995],"arrangement_html_tesm":["\u003cp\u003eMaterials are arranged topically.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Materials are arranged topically."],"prefercite_html_tesm":["\u003cp\u003eCigar Industry Supplementary Material, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"prefercite_tesim":["Cigar Industry Supplementary Material, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"scopecontent_html_tesm":["\u003cp\u003eMaterials in the collection include cigar factory brochures, tobacco industry collectable catalogs, periodicals, manuscripts, photographs, union booklets, ephemera, cigar art and advertisements, correspondence, event programs, clippings, and other assorted items.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Materials in the collection include cigar factory brochures, tobacco industry collectable catalogs, periodicals, manuscripts, photographs, union booklets, ephemera, cigar art and advertisements, correspondence, event programs, clippings, and other assorted items."],"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."],"abstract_html_tesm":["\u003cabstract id=\"aspace_338bf1cf1c0a08ff9acffcbd8be08899\"\u003eThis collection contains materials related to the cigar and tobacco industry in the United States, with a focus on Tampa manufacturers. Included are documents related to labor union organizing at local levels and membership to the Cigar Makers' International Union of America, tobacco industry publications, cigar art, advertisements, and other assorted documents.\u003c/abstract\u003e"],"abstract_tesim":["This collection contains materials related to the cigar and tobacco industry in the United States, with a focus on Tampa manufacturers. Included are documents related to labor union organizing at local levels and membership to the Cigar Makers' International Union of America, tobacco industry publications, cigar art, advertisements, and other assorted documents."],"names_ssim":["USF Libraries - Tampa Special Collections"],"corpname_ssim":["USF Libraries - Tampa Special Collections"],"language_ssim":["English"],"total_component_count_is":88,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"3a2a2bd1f653ffea6555f77b","timestamp":"2026-07-10T05:12:43.897Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/3a2a2bd1f653ffea6555f77b"}},{"id":"1fb60b2a237557e58ed95300","type":"collection","attributes":{"title":"Cigar Label Collection, Dating back to the late 19th century all the way to the mid-20th century.","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/1fb60b2a237557e58ed95300#abstract_or_scope","type":"document_value","attributes":{"value":["Collection of cigar labels from the late 19th century to the early 20th century."],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/1fb60b2a237557e58ed95300#breadcrumbs","type":"document_value","attributes":{"value":[{"id":"1fb60b2a237557e58ed95300","title_ssm":["Cigar Label Collection"],"title_tesim":["Cigar Label Collection"],"ead_ssi":"1fb60b2a237557e58ed95300","unitdate_ssm":["Dating back to the late 19th century all the way to the mid-20th century."],"unitdate_inclusive_ssm":["Dating back to the late 19th century all the way to the mid-20th century."],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SPC6005","/repositories/2/resources/127"],"text":["SPC6005","/repositories/2/resources/127","Cigar Label Collection, Dating back to the late 19th century all the way to the mid-20th century.","The collection is open for research.","Omar Amador, a Cuban native now residing in Miami, Florida has cultivated an impressive collection of Cuban memorabilia, with a particular focus on chromolithographic cigar labels. His passion for preserving rich cultural heritage of Cuba is reflected in the depth and diversity of his collection. \nThese Cuban cigar labels date back from the late 19th and early 20th centuries as a vibrant testament to the artistry and marketing ingenuity of the cigar industry during this time period. ","With the rise of chromolithography revolutionizing label productions all over the globe, it allowed for the creation of rich, multi-colored designs that adorned cigar boxes to consumers. These labels were not just decorative to cigar-lovers alike but they served as a crucial marketing ploy to demonstrate the quality and craftsmanship behind these cigars. With a collection that features 217 labels that present a diverse range of languages and styles, one can appreciate the artistic heritage that these labels represent. Reflecting not only the local Cuban culture but a broader international context of cigar consumption.","Among the prominent manufacturers featured in this collection of labels, such as M. Bustillo Company, F. Garcia \u0026 Brothers, Alfonso Rios \u0026 Company, and M.M. Sevis \u0026 Sons, amongst other small known companies. Each of these companies contributed uniquely to the visual identity of their products. M. Bustillo Company was really well-known for its elegant designs that would usually incorporate floral motifs and classical themes, while F. Garcia \u0026 Brothers emphasizes the quality and c\nraftsmanship of their cigars through the use of bold and striking imagery. Alfonso Rios \u0026 Company and M.M. Sevis \u0026 Sons both similarly highly focuses on capturing the essence of Cuban heritage in their visual imagery through labels, utilizing local symbols and artistic iconographical styles that resonated with consumers both national and international. ","The important role of lithographers in the creative process of these labels cannot be overstated. Companies such as the American Lithographic Company and the Klingenberg Detmond Company played a pivotal role in producing high-quality chromolithographic labels that would become iconic within the industry. The Klingenberg Detmond Company, for example, was renowned for its meticulous attention to detail and vibrant color palettes for their cigar labels, making them stand out in a competitive market. Other known significant contributors would include the Lithographic Germany, Consolidated Lithographing Corporation, Moehle Lithographic Company, and many more bringing in their own unique techniques and artistic capabilities to the cigar label landscape. Widely known Compania Litografica de la Habana further enriched the offerings by focusing on designs that reflected Cuban identity, integrating local artistic traditions with contemporary printing methods. ","The multilingual aspect of these labels speaks volumes about the global appeal of Cuban cigars and the culture behind them. By catering to a diverse audience, manufacturers ensured that their products reached consumers from various backgrounds, therefore enhancing the cigars' reputation as a symbol of sophistication and status. Labels would often featured languages such as Spanish, English, French, German, and many more, underscoring the international demand for these luxurious products and goods. Collectively, these chromolithographic labels tell such a rich cultural history, blending artistic craftsmanship with the economic and social dynamics of their respective time periods. They will stand as cherished collectibles, offering a glimpse into the vibrant story of Cuban cigar tobacco industry and the enduring allure and aesthetic of its cigars. ","\nOmar Amador, un cubano nativo que ahora reside en Miami, Florida, ha cultivado una impresionante colección de memorabilia cubana, con un enfoque particular en las etiquetas de cigarros en cromolitografía. Su pasión por preservar el rico patrimonio cultural de Cuba se refleja en la profundidad y diversidad de su colección.","Estas etiquetas de cigarros cubanos datan de finales del siglo XIX y principios del siglo XX, como un vibrante testimonio del arte y la ingeniosidad en marketing de la industria del cigarro durante este período. Con el auge de la cromolitografía, que revolucionó la producción de etiquetas en todo el mundo, se permitió la creación de diseños ricos y multicolores que adornaban las cajas de cigarros para los consumidores. Estas etiquetas no solo eran decorativas para los amantes de los cigarros, sino que también servían como una estrategia de marketing crucial para demostrar la calidad y el artesanado detrás de estos cigarros. Con una colección que presenta 217 etiquetas que abarcan una diversa gama de idiomas y estilos, se puede apreciar el patrimonio artístico que estas etiquetas representan, reflejando no solo la cultura local cubana, sino un contexto internacional más amplio del consumo de cigarros.","Entre los destacados fabricantes que aparecen en esta colección de etiquetas, se encuentran la M. Bustillo Company, F. Garcia \u0026 Brothers, Alfonso Rios \u0026 Company y M.M. Sevis \u0026 Sons, entre otras pequeñas empresas menos conocidas. Cada una de estas compañías contribuyó de manera única a la identidad visual de sus productos. El M. Bustillo Company era muy conocida por sus elegantes diseños que generalmente incorporaban motivos florales y temas clásicos, mientras que F. Garcia \u0026 Brothers enfatizaba la calidad y el artesanado de sus cigarros mediante el uso de imágenes audaces y llamativas. Tanto Alfonso Rios \u0026 Company como M.M. Sevis \u0026 Sons se enfocaron en capturar la esencia del patrimonio cubano en su imaginería visual a través de etiquetas, utilizando símbolos locales y estilos iconográficos artísticos que resonaban con los consumidores, tanto nacionales como internacionales.","El importante papel de los litógrafos en el proceso creativo de estas etiquetas no puede ser subestimado. Compañías como la American Lithographic Company y la Klingenberg Detmond Company desempeñaron un papel fundamental en la producción de etiquetas cromolitográficas de alta calidad que se volverían icónicas en la industria. La Klingenberg Detmond Company, por ejemplo, era conocida por su meticulosa atención al detalle y paletas de colores vibrantes para sus etiquetas de cigarros, lo que las hacía destacar en un mercado competitivo. Otros importantes contribuyentes conocidos incluyen Lithographic Germany, Consolidated Lithographing Corporation, Moehle Lithographic Company y muchos más, que aportaron sus propias técnicas únicas y capacidades artísticas al paisaje de las etiquetas de cigarros. La ampliamente conocida Compañía Litográfica de La Habana enriqueció aún más la oferta al enfocarse en diseños que reflejaban la identidad cubana, integrando tradiciones artísticas locales con métodos de impresión contemporáneos.","El aspecto multilingue de estas etiquetas habla mucho sobre el atractivo global de los cigarros cubanos y la cultura que los rodea. Al dirigirse a una audiencia diversa, los fabricantes aseguraron que sus productos llegaran a consumidores de diversos orígenes, mejorando así la reputación de los cigarros como símbolo de sofisticación y estatus. Las etiquetas a menudo presentaban idiomas como español, inglés, francés, alemán y muchos más, subrayando la demanda internacional de estos productos y bienes lujosos. Colectivamente, estas etiquetas cromolitográficas cuentan una rica historia cultural, fusionando la artesanía artística con las dinámicas económicas y sociales de sus respectivos períodos. Se mantendrán como coleccionables apreciados, ofreciendo un vistazo a la vibrante historia de la industria del tabaco de cigarros cubanos y la perdurable atracción y estética de sus cigarros.","Osterweil Collection of Cigar Labels (USF) https://digitalcommons.usf.edu/osterweil/, Tampa Cigar Industry and Art Collection (USF) https://digitalcommons.usf.edu/tampa_cigar_art/, Tobacco Art Collection (UM) https://atom.library.miami.edu/chc5279, Cigar City Collection (DLOC) https://www.dloc.com/results?filter=creator:Cigar%20City%20Collection, Florida Department of State Museum of Florida History https://museumoffloridahistory.com/explore/collections/cigar-box-labels/.","The Cigar Label Collection at Florida International University (FIU) Special Collections serves as a vital resource for understanding the rich history and cultural significance of the Cuban cigar industry during the early 20th century, in parts of Cuba and global communities. The collection encompasses a wide range of materials dating back to the late 19th century to the mid-20th century, it includes cigar bands and chromolithographic cigar box labels. The collection contains numerous Cuban cigar manufacturers and brands, offering insights into the artistic styles that defined the industry's golden age. Highlighting the intricate artistry of cigar label lithographs and their role in the branding and marketing of Cuban cigars. Preserving these labels would give researchers a chance to see for themselves the delicate process of lithographic imagery in Cuban cigar manufacturing and marketing.","\nLa Colección de Etiquetas de Cigarros en las Special Collections de la Florida International University (FIU) sirve como un recurso vital para comprender la historia y el significado cultural de la industria del cigarro cubano durante el siglo XX, tanto en partes de Cuba como en comunidades globales. La colección abarca una amplia gama de materiales que datan desde finales del siglo XIX hasta mediados del siglo XX, e incluye anillas de cigarros y etiquetas de cajas de cigarros en cromolitografía. La colección contiene numerosos fabricantes y marcas de cigarros cubanos, ofreciendo perspectivas sobre los estilos artísticos que definieron la edad dorada de la industria. Destaca la intrincada artesanía de las litografías de etiquetas de cigarros y su papel en la marca y el marketing de los cigarros cubanos. Preservar estas etiquetas brindaría a los investigadores la oportunidad de observar el delicado proceso de la imaginería litográfica en la fabricación y comercialización de cigarros cubanos.","Rights. The Cigar Label Collection are owned by Florida International University. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.","Collection of cigar labels from the late 19th century to the early 20th century.","FIU Special Collections","Adlerpost Cigar Company (New York City, New York)","Henry Clay Company (Trenton, New Jersey)","American Lithographic Company","Ramon Alvarez \u0026 Company (Tampa, Florida)","Perfecto Garcia \u0026 Brothers (Ybor City, Tampa, Florida)","Jose Pepin Garcia (Miami, Florida)","S.L. Lee \u0026 Sons (Ybor City, Tampa, Florida)","Consolidated Lithographing Corporation","M.M. Sevis \u0026 Sons (Springvale, Pennsylvania)","C. Garcia \u0026 Cia Habana (Havana, Cuba)","Castle Hall (New York City, New York)","William D. Castro (Miami, Florida)","Bear Company","Maryland Lithographic Company","Cima de Luxe (Esteli, Nicaragua)","Covered Wagon Cigar","Klingenberg Detmond Company","M. Bustillo and Company (Hillsborough County, Tampa, Florida)","El Predomino Cigar Company Manufacturers (Tampa, Florida)","Don Nieto Cigar Factory","San Martin and Son Cigar Company (Hillsborough County, Tampa, Florida)","Moehle Litho Company","David S. Erb \u0026 Co. (Boyertown, Pennsylvania)","Baum-Jaffe Company (Philadelphia, Pennsylvania)","A.W. \u0026 S","Wettig Gedeponeerd (Netherlands)","E. Goss \u0026 Company (San Francisco, California)","G.A.K. \u0026 Company","Wolverine Cigar Company","East Prospect Cigar Company (East Prospect, Pennsylvania)","T. J. Kennedy Tobacco Company","F. Garcia \u0026 Brothers (Hillsborough County, Tampa, Florida)","F. Villar \u0026 Company ","Charles B. Perkins Company (Boston, Massachusetts)","M.H. Smaltz \u0026 Son (Womelsdorf, Pennsylvania)","M. Alonso \u0026 Company","Alfonso Rios \u0026 Company","Charles L. Boak (Harrisburg, Pennsylvania)","Pasbach Voice","H. Upmann (Havana, Cuba)","George S. Harris \u0026 Sons Litho","Heijnen \u0026 Company (Eindhoven, Netherlands)","Louis E. Neuman \u0026 Company Litho","Hofnar Sigarenfabrieken (Netherlands)","Salvador Rodriguez, Inc. (Tampa, Florida)","Compania Litografica de la Habana (Havana, Cuba)","Kerssemakers-Rath \u0026 Company (Netherlands)","Kyra Cigar Company (West Africa)","La Balca Havana Cigars","Calvert Litho Company","S. Hersheim Brothers \u0026 Company (New Orleans, Louisiana)","Moller, Kokeritz \u0026 Company (New York City, New York)","Litho Germany (Germany)","Victor Alvarez (Havana, Cuba)","Krueger \u0026 Braun Litho","C.B. Henschel Manufacturing Company","Corral, Wodiska y Ca.","Meyer Patur Cigar Company (Chicago, Illinois)","G. S. \u0026 Company","J.H. Hamann (Chicago, Illinois)","La Victoria Cigar Corporation (New York City, New York)","B \u0026 B Cigar Company (Kalamazoo, Michigan)","D.S. Erb \u0026 Company (New York City, New York)","Otto Berndt \u0026 Son (Chicago, Illinois)","Leon Real","Grommes and Ulrich Cigar Company (Hillsborough County, Tampa, Florida)","Louis C. Wagner \u0026 Company","M. Bustillo \u0026 Merriam (Hillsborough County, Tampa, Florida)","J.Jimenez Perez (New York City, New York)","Hermann Shott Rheydt","A.C. Henschel \u0026 Company","Moller Koreritz ","P.M. \u0026 F.","Marcelino Perez Cigar Company (Hillsborough County, Tampa, Florida)","Club Royal","Lozano, Pendas, and Company","Wohl \u0026 Comstock Co. ","Litho George Schlegel (New York)","Por Larranaga (Havana, Cuba)","El Arte Cigar Company","John T. Stier \u0026 Sons Cigar Company (Louisville, Kentucky)","Tampa Cuba Cigar Company (Ybor City, Tampa, Florida)","Romeo y Julieta (Havana, Cuba)","Pedro Perez Cigar Company (Ybor City, Tampa, Florida)","The Graham-Ernst Cigar Company","Kohler Snyder Company","J.A. Mcadoo","Louis Heltman Company","Celestino Costello \u0026 Company","H.E. Ackerburg","Golden Bros","A.H. Belo \u0026 Company","Luis Zamorano Gonzalez","Willem II (Netherlands)","Spanish; Castilian"],"unitid_tesim":["SPC6005","/repositories/2/resources/127"],"normalized_date_ssm":["Dating back to the late 19th century all the way to the mid-20th century."],"normalized_title_ssm":["Cigar Label Collection, Dating back to the late 19th century all the way to the mid-20th century."],"collection_title_tesim":["Cigar Label Collection, Dating back to the late 19th century all the way to the mid-20th century."],"collection_ssim":["Cigar Label Collection, Dating back to the late 19th century all the way to the mid-20th century."],"repository_ssm":["FIU Special Collections"],"repository_ssim":["FIU Special Collections"],"access_terms_ssm":["Rights. The Cigar Label Collection are owned by Florida International University. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws."],"has_online_content_ssim":["false"],"extent_ssm":["217 items"],"extent_tesim":["217 items"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research."],"bioghist_html_tesm":["\u003cp\u003eOmar Amador, a Cuban native now residing in Miami, Florida has cultivated an impressive collection of Cuban memorabilia, with a particular focus on chromolithographic cigar labels. His passion for preserving rich cultural heritage of Cuba is reflected in the depth and diversity of his collection. \nThese Cuban cigar labels date back from the late 19th and early 20th centuries as a vibrant testament to the artistry and marketing ingenuity of the cigar industry during this time period. \u003c/p\u003e\n","\u003cp\u003eWith the rise of chromolithography revolutionizing label productions all over the globe, it allowed for the creation of rich, multi-colored designs that adorned cigar boxes to consumers. These labels were not just decorative to cigar-lovers alike but they served as a crucial marketing ploy to demonstrate the quality and craftsmanship behind these cigars. With a collection that features 217 labels that present a diverse range of languages and styles, one can appreciate the artistic heritage that these labels represent. Reflecting not only the local Cuban culture but a broader international context of cigar consumption.\u003c/p\u003e\n","\u003cp\u003eAmong the prominent manufacturers featured in this collection of labels, such as M. Bustillo Company, F. Garcia \u0026amp; Brothers, Alfonso Rios \u0026amp; Company, and M.M. Sevis \u0026amp; Sons, amongst other small known companies. Each of these companies contributed uniquely to the visual identity of their products. M. Bustillo Company was really well-known for its elegant designs that would usually incorporate floral motifs and classical themes, while F. Garcia \u0026amp; Brothers emphasizes the quality and c\nraftsmanship of their cigars through the use of bold and striking imagery. Alfonso Rios \u0026amp; Company and M.M. Sevis \u0026amp; Sons both similarly highly focuses on capturing the essence of Cuban heritage in their visual imagery through labels, utilizing local symbols and artistic iconographical styles that resonated with consumers both national and international. \u003c/p\u003e\n","\u003cp\u003eThe important role of lithographers in the creative process of these labels cannot be overstated. Companies such as the American Lithographic Company and the Klingenberg Detmond Company played a pivotal role in producing high-quality chromolithographic labels that would become iconic within the industry. The Klingenberg Detmond Company, for example, was renowned for its meticulous attention to detail and vibrant color palettes for their cigar labels, making them stand out in a competitive market. Other known significant contributors would include the Lithographic Germany, Consolidated Lithographing Corporation, Moehle Lithographic Company, and many more bringing in their own unique techniques and artistic capabilities to the cigar label landscape. Widely known Compania Litografica de la Habana further enriched the offerings by focusing on designs that reflected Cuban identity, integrating local artistic traditions with contemporary printing methods. \u003c/p\u003e\n","\u003cp\u003eThe multilingual aspect of these labels speaks volumes about the global appeal of Cuban cigars and the culture behind them. By catering to a diverse audience, manufacturers ensured that their products reached consumers from various backgrounds, therefore enhancing the cigars' reputation as a symbol of sophistication and status. Labels would often featured languages such as Spanish, English, French, German, and many more, underscoring the international demand for these luxurious products and goods. Collectively, these chromolithographic labels tell such a rich cultural history, blending artistic craftsmanship with the economic and social dynamics of their respective time periods. They will stand as cherished collectibles, offering a glimpse into the vibrant story of Cuban cigar tobacco industry and the enduring allure and aesthetic of its cigars. \u003c/p\u003e\n","\u003cp\u003e\nOmar Amador, un cubano nativo que ahora reside en Miami, Florida, ha cultivado una impresionante colecci\u0026#xF3;n de memorabilia cubana, con un enfoque particular en las etiquetas de cigarros en cromolitograf\u0026#xED;a. Su pasi\u0026#xF3;n por preservar el rico patrimonio cultural de Cuba se refleja en la profundidad y diversidad de su colecci\u0026#xF3;n.\u003c/p\u003e\n","\u003cp\u003eEstas etiquetas de cigarros cubanos datan de finales del siglo XIX y principios del siglo XX, como un vibrante testimonio del arte y la ingeniosidad en marketing de la industria del cigarro durante este per\u0026#xED;odo. Con el auge de la cromolitograf\u0026#xED;a, que revolucion\u0026#xF3; la producci\u0026#xF3;n de etiquetas en todo el mundo, se permiti\u0026#xF3; la creaci\u0026#xF3;n de dise\u0026#xF1;os ricos y multicolores que adornaban las cajas de cigarros para los consumidores. Estas etiquetas no solo eran decorativas para los amantes de los cigarros, sino que tambi\u0026#xE9;n serv\u0026#xED;an como una estrategia de marketing crucial para demostrar la calidad y el artesanado detr\u0026#xE1;s de estos cigarros. Con una colecci\u0026#xF3;n que presenta 217 etiquetas que abarcan una diversa gama de idiomas y estilos, se puede apreciar el patrimonio art\u0026#xED;stico que estas etiquetas representan, reflejando no solo la cultura local cubana, sino un contexto internacional m\u0026#xE1;s amplio del consumo de cigarros.\u003c/p\u003e\n","\u003cp\u003eEntre los destacados fabricantes que aparecen en esta colecci\u0026#xF3;n de etiquetas, se encuentran la M. Bustillo Company, F. Garcia \u0026amp; Brothers, Alfonso Rios \u0026amp; Company y M.M. Sevis \u0026amp; Sons, entre otras peque\u0026#xF1;as empresas menos conocidas. Cada una de estas compa\u0026#xF1;\u0026#xED;as contribuy\u0026#xF3; de manera \u0026#xFA;nica a la identidad visual de sus productos. El M. Bustillo Company era muy conocida por sus elegantes dise\u0026#xF1;os que generalmente incorporaban motivos florales y temas cl\u0026#xE1;sicos, mientras que F. Garcia \u0026amp; Brothers enfatizaba la calidad y el artesanado de sus cigarros mediante el uso de im\u0026#xE1;genes audaces y llamativas. Tanto Alfonso Rios \u0026amp; Company como M.M. Sevis \u0026amp; Sons se enfocaron en capturar la esencia del patrimonio cubano en su imaginer\u0026#xED;a visual a trav\u0026#xE9;s de etiquetas, utilizando s\u0026#xED;mbolos locales y estilos iconogr\u0026#xE1;ficos art\u0026#xED;sticos que resonaban con los consumidores, tanto nacionales como internacionales.\u003c/p\u003e\n","\u003cp\u003eEl importante papel de los lit\u0026#xF3;grafos en el proceso creativo de estas etiquetas no puede ser subestimado. Compa\u0026#xF1;\u0026#xED;as como la American Lithographic Company y la Klingenberg Detmond Company desempe\u0026#xF1;aron un papel fundamental en la producci\u0026#xF3;n de etiquetas cromolitogr\u0026#xE1;ficas de alta calidad que se volver\u0026#xED;an ic\u0026#xF3;nicas en la industria. La Klingenberg Detmond Company, por ejemplo, era conocida por su meticulosa atenci\u0026#xF3;n al detalle y paletas de colores vibrantes para sus etiquetas de cigarros, lo que las hac\u0026#xED;a destacar en un mercado competitivo. Otros importantes contribuyentes conocidos incluyen Lithographic Germany, Consolidated Lithographing Corporation, Moehle Lithographic Company y muchos m\u0026#xE1;s, que aportaron sus propias t\u0026#xE9;cnicas \u0026#xFA;nicas y capacidades art\u0026#xED;sticas al paisaje de las etiquetas de cigarros. La ampliamente conocida Compa\u0026#xF1;\u0026#xED;a Litogr\u0026#xE1;fica de La Habana enriqueci\u0026#xF3; a\u0026#xFA;n m\u0026#xE1;s la oferta al enfocarse en dise\u0026#xF1;os que reflejaban la identidad cubana, integrando tradiciones art\u0026#xED;sticas locales con m\u0026#xE9;todos de impresi\u0026#xF3;n contempor\u0026#xE1;neos.\u003c/p\u003e\n","\u003cp\u003eEl aspecto multilingue de estas etiquetas habla mucho sobre el atractivo global de los cigarros cubanos y la cultura que los rodea. Al dirigirse a una audiencia diversa, los fabricantes aseguraron que sus productos llegaran a consumidores de diversos or\u0026#xED;genes, mejorando as\u0026#xED; la reputaci\u0026#xF3;n de los cigarros como s\u0026#xED;mbolo de sofisticaci\u0026#xF3;n y estatus. Las etiquetas a menudo presentaban idiomas como espa\u0026#xF1;ol, ingl\u0026#xE9;s, franc\u0026#xE9;s, alem\u0026#xE1;n y muchos m\u0026#xE1;s, subrayando la demanda internacional de estos productos y bienes lujosos. Colectivamente, estas etiquetas cromolitogr\u0026#xE1;ficas cuentan una rica historia cultural, fusionando la artesan\u0026#xED;a art\u0026#xED;stica con las din\u0026#xE1;micas econ\u0026#xF3;micas y sociales de sus respectivos per\u0026#xED;odos. Se mantendr\u0026#xE1;n como coleccionables apreciados, ofreciendo un vistazo a la vibrante historia de la industria del tabaco de cigarros cubanos y la perdurable atracci\u0026#xF3;n y est\u0026#xE9;tica de sus cigarros.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Omar Amador, a Cuban native now residing in Miami, Florida has cultivated an impressive collection of Cuban memorabilia, with a particular focus on chromolithographic cigar labels. His passion for preserving rich cultural heritage of Cuba is reflected in the depth and diversity of his collection. \nThese Cuban cigar labels date back from the late 19th and early 20th centuries as a vibrant testament to the artistry and marketing ingenuity of the cigar industry during this time period. ","With the rise of chromolithography revolutionizing label productions all over the globe, it allowed for the creation of rich, multi-colored designs that adorned cigar boxes to consumers. These labels were not just decorative to cigar-lovers alike but they served as a crucial marketing ploy to demonstrate the quality and craftsmanship behind these cigars. With a collection that features 217 labels that present a diverse range of languages and styles, one can appreciate the artistic heritage that these labels represent. Reflecting not only the local Cuban culture but a broader international context of cigar consumption.","Among the prominent manufacturers featured in this collection of labels, such as M. Bustillo Company, F. Garcia \u0026 Brothers, Alfonso Rios \u0026 Company, and M.M. Sevis \u0026 Sons, amongst other small known companies. Each of these companies contributed uniquely to the visual identity of their products. M. Bustillo Company was really well-known for its elegant designs that would usually incorporate floral motifs and classical themes, while F. Garcia \u0026 Brothers emphasizes the quality and c\nraftsmanship of their cigars through the use of bold and striking imagery. Alfonso Rios \u0026 Company and M.M. Sevis \u0026 Sons both similarly highly focuses on capturing the essence of Cuban heritage in their visual imagery through labels, utilizing local symbols and artistic iconographical styles that resonated with consumers both national and international. ","The important role of lithographers in the creative process of these labels cannot be overstated. Companies such as the American Lithographic Company and the Klingenberg Detmond Company played a pivotal role in producing high-quality chromolithographic labels that would become iconic within the industry. The Klingenberg Detmond Company, for example, was renowned for its meticulous attention to detail and vibrant color palettes for their cigar labels, making them stand out in a competitive market. Other known significant contributors would include the Lithographic Germany, Consolidated Lithographing Corporation, Moehle Lithographic Company, and many more bringing in their own unique techniques and artistic capabilities to the cigar label landscape. Widely known Compania Litografica de la Habana further enriched the offerings by focusing on designs that reflected Cuban identity, integrating local artistic traditions with contemporary printing methods. ","The multilingual aspect of these labels speaks volumes about the global appeal of Cuban cigars and the culture behind them. By catering to a diverse audience, manufacturers ensured that their products reached consumers from various backgrounds, therefore enhancing the cigars' reputation as a symbol of sophistication and status. Labels would often featured languages such as Spanish, English, French, German, and many more, underscoring the international demand for these luxurious products and goods. Collectively, these chromolithographic labels tell such a rich cultural history, blending artistic craftsmanship with the economic and social dynamics of their respective time periods. They will stand as cherished collectibles, offering a glimpse into the vibrant story of Cuban cigar tobacco industry and the enduring allure and aesthetic of its cigars. ","\nOmar Amador, un cubano nativo que ahora reside en Miami, Florida, ha cultivado una impresionante colección de memorabilia cubana, con un enfoque particular en las etiquetas de cigarros en cromolitografía. Su pasión por preservar el rico patrimonio cultural de Cuba se refleja en la profundidad y diversidad de su colección.","Estas etiquetas de cigarros cubanos datan de finales del siglo XIX y principios del siglo XX, como un vibrante testimonio del arte y la ingeniosidad en marketing de la industria del cigarro durante este período. Con el auge de la cromolitografía, que revolucionó la producción de etiquetas en todo el mundo, se permitió la creación de diseños ricos y multicolores que adornaban las cajas de cigarros para los consumidores. Estas etiquetas no solo eran decorativas para los amantes de los cigarros, sino que también servían como una estrategia de marketing crucial para demostrar la calidad y el artesanado detrás de estos cigarros. Con una colección que presenta 217 etiquetas que abarcan una diversa gama de idiomas y estilos, se puede apreciar el patrimonio artístico que estas etiquetas representan, reflejando no solo la cultura local cubana, sino un contexto internacional más amplio del consumo de cigarros.","Entre los destacados fabricantes que aparecen en esta colección de etiquetas, se encuentran la M. Bustillo Company, F. Garcia \u0026 Brothers, Alfonso Rios \u0026 Company y M.M. Sevis \u0026 Sons, entre otras pequeñas empresas menos conocidas. Cada una de estas compañías contribuyó de manera única a la identidad visual de sus productos. El M. Bustillo Company era muy conocida por sus elegantes diseños que generalmente incorporaban motivos florales y temas clásicos, mientras que F. Garcia \u0026 Brothers enfatizaba la calidad y el artesanado de sus cigarros mediante el uso de imágenes audaces y llamativas. Tanto Alfonso Rios \u0026 Company como M.M. Sevis \u0026 Sons se enfocaron en capturar la esencia del patrimonio cubano en su imaginería visual a través de etiquetas, utilizando símbolos locales y estilos iconográficos artísticos que resonaban con los consumidores, tanto nacionales como internacionales.","El importante papel de los litógrafos en el proceso creativo de estas etiquetas no puede ser subestimado. Compañías como la American Lithographic Company y la Klingenberg Detmond Company desempeñaron un papel fundamental en la producción de etiquetas cromolitográficas de alta calidad que se volverían icónicas en la industria. La Klingenberg Detmond Company, por ejemplo, era conocida por su meticulosa atención al detalle y paletas de colores vibrantes para sus etiquetas de cigarros, lo que las hacía destacar en un mercado competitivo. Otros importantes contribuyentes conocidos incluyen Lithographic Germany, Consolidated Lithographing Corporation, Moehle Lithographic Company y muchos más, que aportaron sus propias técnicas únicas y capacidades artísticas al paisaje de las etiquetas de cigarros. La ampliamente conocida Compañía Litográfica de La Habana enriqueció aún más la oferta al enfocarse en diseños que reflejaban la identidad cubana, integrando tradiciones artísticas locales con métodos de impresión contemporáneos.","El aspecto multilingue de estas etiquetas habla mucho sobre el atractivo global de los cigarros cubanos y la cultura que los rodea. Al dirigirse a una audiencia diversa, los fabricantes aseguraron que sus productos llegaran a consumidores de diversos orígenes, mejorando así la reputación de los cigarros como símbolo de sofisticación y estatus. Las etiquetas a menudo presentaban idiomas como español, inglés, francés, alemán y muchos más, subrayando la demanda internacional de estos productos y bienes lujosos. Colectivamente, estas etiquetas cromolitográficas cuentan una rica historia cultural, fusionando la artesanía artística con las dinámicas económicas y sociales de sus respectivos períodos. Se mantendrán como coleccionables apreciados, ofreciendo un vistazo a la vibrante historia de la industria del tabaco de cigarros cubanos y la perdurable atracción y estética de sus cigarros."],"relatedmaterial_html_tesm":["\u003cp\u003eOsterweil Collection of Cigar Labels (USF) https://digitalcommons.usf.edu/osterweil/, Tampa Cigar Industry and Art Collection (USF) https://digitalcommons.usf.edu/tampa_cigar_art/, Tobacco Art Collection (UM) https://atom.library.miami.edu/chc5279, Cigar City Collection (DLOC) https://www.dloc.com/results?filter=creator:Cigar%20City%20Collection, Florida Department of State Museum of Florida History https://museumoffloridahistory.com/explore/collections/cigar-box-labels/.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Osterweil Collection of Cigar Labels (USF) https://digitalcommons.usf.edu/osterweil/, Tampa Cigar Industry and Art Collection (USF) https://digitalcommons.usf.edu/tampa_cigar_art/, Tobacco Art Collection (UM) https://atom.library.miami.edu/chc5279, Cigar City Collection (DLOC) https://www.dloc.com/results?filter=creator:Cigar%20City%20Collection, Florida Department of State Museum of Florida History https://museumoffloridahistory.com/explore/collections/cigar-box-labels/."],"scopecontent_html_tesm":["\u003cp\u003eThe Cigar Label Collection at Florida International University (FIU) Special Collections serves as a vital resource for understanding the rich history and cultural significance of the Cuban cigar industry during the early 20th century, in parts of Cuba and global communities. The collection encompasses a wide range of materials dating back to the late 19th century to the mid-20th century, it includes cigar bands and chromolithographic cigar box labels. The collection contains numerous Cuban cigar manufacturers and brands, offering insights into the artistic styles that defined the industry's golden age. Highlighting the intricate artistry of cigar label lithographs and their role in the branding and marketing of Cuban cigars. Preserving these labels would give researchers a chance to see for themselves the delicate process of lithographic imagery in Cuban cigar manufacturing and marketing.\u003c/p\u003e\n","\u003cp\u003e\nLa Colecci\u0026#xF3;n de Etiquetas de Cigarros en las Special Collections de la Florida International University (FIU) sirve como un recurso vital para comprender la historia y el significado cultural de la industria del cigarro cubano durante el siglo XX, tanto en partes de Cuba como en comunidades globales. La colecci\u0026#xF3;n abarca una amplia gama de materiales que datan desde finales del siglo XIX hasta mediados del siglo XX, e incluye anillas de cigarros y etiquetas de cajas de cigarros en cromolitograf\u0026#xED;a. La colecci\u0026#xF3;n contiene numerosos fabricantes y marcas de cigarros cubanos, ofreciendo perspectivas sobre los estilos art\u0026#xED;sticos que definieron la edad dorada de la industria. Destaca la intrincada artesan\u0026#xED;a de las litograf\u0026#xED;as de etiquetas de cigarros y su papel en la marca y el marketing de los cigarros cubanos. Preservar estas etiquetas brindar\u0026#xED;a a los investigadores la oportunidad de observar el delicado proceso de la imaginer\u0026#xED;a litogr\u0026#xE1;fica en la fabricaci\u0026#xF3;n y comercializaci\u0026#xF3;n de cigarros cubanos.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The Cigar Label Collection at Florida International University (FIU) Special Collections serves as a vital resource for understanding the rich history and cultural significance of the Cuban cigar industry during the early 20th century, in parts of Cuba and global communities. The collection encompasses a wide range of materials dating back to the late 19th century to the mid-20th century, it includes cigar bands and chromolithographic cigar box labels. The collection contains numerous Cuban cigar manufacturers and brands, offering insights into the artistic styles that defined the industry's golden age. Highlighting the intricate artistry of cigar label lithographs and their role in the branding and marketing of Cuban cigars. Preserving these labels would give researchers a chance to see for themselves the delicate process of lithographic imagery in Cuban cigar manufacturing and marketing.","\nLa Colección de Etiquetas de Cigarros en las Special Collections de la Florida International University (FIU) sirve como un recurso vital para comprender la historia y el significado cultural de la industria del cigarro cubano durante el siglo XX, tanto en partes de Cuba como en comunidades globales. La colección abarca una amplia gama de materiales que datan desde finales del siglo XIX hasta mediados del siglo XX, e incluye anillas de cigarros y etiquetas de cajas de cigarros en cromolitografía. La colección contiene numerosos fabricantes y marcas de cigarros cubanos, ofreciendo perspectivas sobre los estilos artísticos que definieron la edad dorada de la industria. Destaca la intrincada artesanía de las litografías de etiquetas de cigarros y su papel en la marca y el marketing de los cigarros cubanos. Preservar estas etiquetas brindaría a los investigadores la oportunidad de observar el delicado proceso de la imaginería litográfica en la fabricación y comercialización de cigarros cubanos."],"userestrict_html_tesm":["\u003cp\u003eRights. The Cigar Label Collection are owned by Florida International University. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Rights. The Cigar Label Collection are owned by Florida International University. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws."],"abstract_html_tesm":["\u003cabstract id=\"aspace_7de0ce202f1579f9c58731ee3ee794be\"\u003eCollection of cigar labels from the late 19th century to the early 20th century.\u003c/abstract\u003e"],"abstract_tesim":["Collection of cigar labels from the late 19th century to the early 20th century."],"names_ssim":["FIU Special Collections","Adlerpost Cigar Company (New York City, New York)","Henry Clay Company (Trenton, New Jersey)","American Lithographic Company","Ramon Alvarez \u0026 Company (Tampa, Florida)","Perfecto Garcia \u0026 Brothers (Ybor City, Tampa, Florida)","Jose Pepin Garcia (Miami, Florida)","S.L. Lee \u0026 Sons (Ybor City, Tampa, Florida)","Consolidated Lithographing Corporation","M.M. Sevis \u0026 Sons (Springvale, Pennsylvania)","C. Garcia \u0026 Cia Habana (Havana, Cuba)","Castle Hall (New York City, New York)","William D. Castro (Miami, Florida)","Bear Company","Maryland Lithographic Company","Cima de Luxe (Esteli, Nicaragua)","Covered Wagon Cigar","Klingenberg Detmond Company","M. Bustillo and Company (Hillsborough County, Tampa, Florida)","El Predomino Cigar Company Manufacturers (Tampa, Florida)","Don Nieto Cigar Factory","San Martin and Son Cigar Company (Hillsborough County, Tampa, Florida)","Moehle Litho Company","David S. Erb \u0026 Co. (Boyertown, Pennsylvania)","Baum-Jaffe Company (Philadelphia, Pennsylvania)","A.W. \u0026 S","Wettig Gedeponeerd (Netherlands)","E. Goss \u0026 Company (San Francisco, California)","G.A.K. \u0026 Company","Wolverine Cigar Company","East Prospect Cigar Company (East Prospect, Pennsylvania)","T. J. Kennedy Tobacco Company","F. Garcia \u0026 Brothers (Hillsborough County, Tampa, Florida)","F. Villar \u0026 Company ","Charles B. Perkins Company (Boston, Massachusetts)","M.H. Smaltz \u0026 Son (Womelsdorf, Pennsylvania)","M. Alonso \u0026 Company","Alfonso Rios \u0026 Company","Charles L. Boak (Harrisburg, Pennsylvania)","Pasbach Voice","H. Upmann (Havana, Cuba)","George S. Harris \u0026 Sons Litho","Heijnen \u0026 Company (Eindhoven, Netherlands)","Louis E. Neuman \u0026 Company Litho","Hofnar Sigarenfabrieken (Netherlands)","Salvador Rodriguez, Inc. (Tampa, Florida)","Compania Litografica de la Habana (Havana, Cuba)","Kerssemakers-Rath \u0026 Company (Netherlands)","Kyra Cigar Company (West Africa)","La Balca Havana Cigars","Calvert Litho Company","S. Hersheim Brothers \u0026 Company (New Orleans, Louisiana)","Moller, Kokeritz \u0026 Company (New York City, New York)","Litho Germany (Germany)","Victor Alvarez (Havana, Cuba)","Krueger \u0026 Braun Litho","C.B. Henschel Manufacturing Company","Corral, Wodiska y Ca.","Meyer Patur Cigar Company (Chicago, Illinois)","G. S. \u0026 Company","J.H. Hamann (Chicago, Illinois)","La Victoria Cigar Corporation (New York City, New York)","B \u0026 B Cigar Company (Kalamazoo, Michigan)","D.S. Erb \u0026 Company (New York City, New York)","Otto Berndt \u0026 Son (Chicago, Illinois)","Leon Real","Grommes and Ulrich Cigar Company (Hillsborough County, Tampa, Florida)","Louis C. Wagner \u0026 Company","M. Bustillo \u0026 Merriam (Hillsborough County, Tampa, Florida)","J.Jimenez Perez (New York City, New York)","Hermann Shott Rheydt","A.C. Henschel \u0026 Company","Moller Koreritz ","P.M. \u0026 F.","Marcelino Perez Cigar Company (Hillsborough County, Tampa, Florida)","Club Royal","Lozano, Pendas, and Company","Wohl \u0026 Comstock Co. ","Litho George Schlegel (New York)","Por Larranaga (Havana, Cuba)","El Arte Cigar Company","John T. Stier \u0026 Sons Cigar Company (Louisville, Kentucky)","Tampa Cuba Cigar Company (Ybor City, Tampa, Florida)","Romeo y Julieta (Havana, Cuba)","Pedro Perez Cigar Company (Ybor City, Tampa, Florida)","The Graham-Ernst Cigar Company","Kohler Snyder Company","J.A. Mcadoo","Louis Heltman Company","Celestino Costello \u0026 Company","H.E. Ackerburg","Golden Bros","A.H. Belo \u0026 Company","Luis Zamorano Gonzalez","Willem II (Netherlands)"],"corpname_ssim":["FIU Special Collections","Adlerpost Cigar Company (New York City, New York)","Henry Clay Company (Trenton, New Jersey)","American Lithographic Company","Ramon Alvarez \u0026 Company (Tampa, Florida)","Perfecto Garcia \u0026 Brothers (Ybor City, Tampa, Florida)","Jose Pepin Garcia (Miami, Florida)","S.L. Lee \u0026 Sons (Ybor City, Tampa, Florida)","Consolidated Lithographing Corporation","M.M. Sevis \u0026 Sons (Springvale, Pennsylvania)","C. Garcia \u0026 Cia Habana (Havana, Cuba)","Castle Hall (New York City, New York)","William D. Castro (Miami, Florida)","Bear Company","Maryland Lithographic Company","Cima de Luxe (Esteli, Nicaragua)","Covered Wagon Cigar","Klingenberg Detmond Company","M. Bustillo and Company (Hillsborough County, Tampa, Florida)","El Predomino Cigar Company Manufacturers (Tampa, Florida)","Don Nieto Cigar Factory","San Martin and Son Cigar Company (Hillsborough County, Tampa, Florida)","Moehle Litho Company","David S. Erb \u0026 Co. (Boyertown, Pennsylvania)","Baum-Jaffe Company (Philadelphia, Pennsylvania)","A.W. \u0026 S","Wettig Gedeponeerd (Netherlands)","E. Goss \u0026 Company (San Francisco, California)","G.A.K. \u0026 Company","Wolverine Cigar Company","East Prospect Cigar Company (East Prospect, Pennsylvania)","T. J. Kennedy Tobacco Company","F. Garcia \u0026 Brothers (Hillsborough County, Tampa, Florida)","F. Villar \u0026 Company ","Charles B. Perkins Company (Boston, Massachusetts)","M.H. Smaltz \u0026 Son (Womelsdorf, Pennsylvania)","M. Alonso \u0026 Company","Alfonso Rios \u0026 Company","Charles L. Boak (Harrisburg, Pennsylvania)","Pasbach Voice","H. Upmann (Havana, Cuba)","George S. Harris \u0026 Sons Litho","Heijnen \u0026 Company (Eindhoven, Netherlands)","Louis E. Neuman \u0026 Company Litho","Hofnar Sigarenfabrieken (Netherlands)","Salvador Rodriguez, Inc. (Tampa, Florida)","Compania Litografica de la Habana (Havana, Cuba)","Kerssemakers-Rath \u0026 Company (Netherlands)","Kyra Cigar Company (West Africa)","La Balca Havana Cigars","Calvert Litho Company","S. Hersheim Brothers \u0026 Company (New Orleans, Louisiana)","Moller, Kokeritz \u0026 Company (New York City, New York)","Litho Germany (Germany)","Victor Alvarez (Havana, Cuba)","Krueger \u0026 Braun Litho","C.B. Henschel Manufacturing Company","Corral, Wodiska y Ca.","Meyer Patur Cigar Company (Chicago, Illinois)","G. S. \u0026 Company","J.H. Hamann (Chicago, Illinois)","La Victoria Cigar Corporation (New York City, New York)","B \u0026 B Cigar Company (Kalamazoo, Michigan)","D.S. Erb \u0026 Company (New York City, New York)","Otto Berndt \u0026 Son (Chicago, Illinois)","Leon Real","Grommes and Ulrich Cigar Company (Hillsborough County, Tampa, Florida)","Louis C. Wagner \u0026 Company","M. Bustillo \u0026 Merriam (Hillsborough County, Tampa, Florida)","J.Jimenez Perez (New York City, New York)","Hermann Shott Rheydt","A.C. Henschel \u0026 Company","Moller Koreritz ","P.M. \u0026 F.","Marcelino Perez Cigar Company (Hillsborough County, Tampa, Florida)","Club Royal","Lozano, Pendas, and Company","Wohl \u0026 Comstock Co. ","Litho George Schlegel (New York)","Por Larranaga (Havana, Cuba)","El Arte Cigar Company","John T. Stier \u0026 Sons Cigar Company (Louisville, Kentucky)","Tampa Cuba Cigar Company (Ybor City, Tampa, Florida)","Romeo y Julieta (Havana, Cuba)","Pedro Perez Cigar Company (Ybor City, Tampa, Florida)","The Graham-Ernst Cigar Company","Kohler Snyder Company","J.A. Mcadoo","Louis Heltman Company","Celestino Costello \u0026 Company","H.E. Ackerburg","Golden Bros","A.H. Belo \u0026 Company","Luis Zamorano Gonzalez","Willem II (Netherlands)"],"language_ssim":["Spanish; Castilian"],"total_component_count_is":217,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870844493513621504,"_root_":"1fb60b2a237557e58ed95300","timestamp":"2026-07-16T04:32:23.451Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"1fb60b2a237557e58ed95300","title_ssm":["Cigar Label Collection"],"title_tesim":["Cigar Label Collection"],"ead_ssi":"1fb60b2a237557e58ed95300","unitdate_ssm":["Dating back to the late 19th century all the way to the mid-20th century."],"unitdate_inclusive_ssm":["Dating back to the late 19th century all the way to the mid-20th century."],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SPC6005","/repositories/2/resources/127"],"text":["SPC6005","/repositories/2/resources/127","Cigar Label Collection, Dating back to the late 19th century all the way to the mid-20th century.","The collection is open for research.","Omar Amador, a Cuban native now residing in Miami, Florida has cultivated an impressive collection of Cuban memorabilia, with a particular focus on chromolithographic cigar labels. His passion for preserving rich cultural heritage of Cuba is reflected in the depth and diversity of his collection. \nThese Cuban cigar labels date back from the late 19th and early 20th centuries as a vibrant testament to the artistry and marketing ingenuity of the cigar industry during this time period. ","With the rise of chromolithography revolutionizing label productions all over the globe, it allowed for the creation of rich, multi-colored designs that adorned cigar boxes to consumers. These labels were not just decorative to cigar-lovers alike but they served as a crucial marketing ploy to demonstrate the quality and craftsmanship behind these cigars. With a collection that features 217 labels that present a diverse range of languages and styles, one can appreciate the artistic heritage that these labels represent. Reflecting not only the local Cuban culture but a broader international context of cigar consumption.","Among the prominent manufacturers featured in this collection of labels, such as M. Bustillo Company, F. Garcia \u0026 Brothers, Alfonso Rios \u0026 Company, and M.M. Sevis \u0026 Sons, amongst other small known companies. Each of these companies contributed uniquely to the visual identity of their products. M. Bustillo Company was really well-known for its elegant designs that would usually incorporate floral motifs and classical themes, while F. Garcia \u0026 Brothers emphasizes the quality and c\nraftsmanship of their cigars through the use of bold and striking imagery. Alfonso Rios \u0026 Company and M.M. Sevis \u0026 Sons both similarly highly focuses on capturing the essence of Cuban heritage in their visual imagery through labels, utilizing local symbols and artistic iconographical styles that resonated with consumers both national and international. ","The important role of lithographers in the creative process of these labels cannot be overstated. Companies such as the American Lithographic Company and the Klingenberg Detmond Company played a pivotal role in producing high-quality chromolithographic labels that would become iconic within the industry. The Klingenberg Detmond Company, for example, was renowned for its meticulous attention to detail and vibrant color palettes for their cigar labels, making them stand out in a competitive market. Other known significant contributors would include the Lithographic Germany, Consolidated Lithographing Corporation, Moehle Lithographic Company, and many more bringing in their own unique techniques and artistic capabilities to the cigar label landscape. Widely known Compania Litografica de la Habana further enriched the offerings by focusing on designs that reflected Cuban identity, integrating local artistic traditions with contemporary printing methods. ","The multilingual aspect of these labels speaks volumes about the global appeal of Cuban cigars and the culture behind them. By catering to a diverse audience, manufacturers ensured that their products reached consumers from various backgrounds, therefore enhancing the cigars' reputation as a symbol of sophistication and status. Labels would often featured languages such as Spanish, English, French, German, and many more, underscoring the international demand for these luxurious products and goods. Collectively, these chromolithographic labels tell such a rich cultural history, blending artistic craftsmanship with the economic and social dynamics of their respective time periods. They will stand as cherished collectibles, offering a glimpse into the vibrant story of Cuban cigar tobacco industry and the enduring allure and aesthetic of its cigars. ","\nOmar Amador, un cubano nativo que ahora reside en Miami, Florida, ha cultivado una impresionante colección de memorabilia cubana, con un enfoque particular en las etiquetas de cigarros en cromolitografía. Su pasión por preservar el rico patrimonio cultural de Cuba se refleja en la profundidad y diversidad de su colección.","Estas etiquetas de cigarros cubanos datan de finales del siglo XIX y principios del siglo XX, como un vibrante testimonio del arte y la ingeniosidad en marketing de la industria del cigarro durante este período. Con el auge de la cromolitografía, que revolucionó la producción de etiquetas en todo el mundo, se permitió la creación de diseños ricos y multicolores que adornaban las cajas de cigarros para los consumidores. Estas etiquetas no solo eran decorativas para los amantes de los cigarros, sino que también servían como una estrategia de marketing crucial para demostrar la calidad y el artesanado detrás de estos cigarros. Con una colección que presenta 217 etiquetas que abarcan una diversa gama de idiomas y estilos, se puede apreciar el patrimonio artístico que estas etiquetas representan, reflejando no solo la cultura local cubana, sino un contexto internacional más amplio del consumo de cigarros.","Entre los destacados fabricantes que aparecen en esta colección de etiquetas, se encuentran la M. Bustillo Company, F. Garcia \u0026 Brothers, Alfonso Rios \u0026 Company y M.M. Sevis \u0026 Sons, entre otras pequeñas empresas menos conocidas. Cada una de estas compañías contribuyó de manera única a la identidad visual de sus productos. El M. Bustillo Company era muy conocida por sus elegantes diseños que generalmente incorporaban motivos florales y temas clásicos, mientras que F. Garcia \u0026 Brothers enfatizaba la calidad y el artesanado de sus cigarros mediante el uso de imágenes audaces y llamativas. Tanto Alfonso Rios \u0026 Company como M.M. Sevis \u0026 Sons se enfocaron en capturar la esencia del patrimonio cubano en su imaginería visual a través de etiquetas, utilizando símbolos locales y estilos iconográficos artísticos que resonaban con los consumidores, tanto nacionales como internacionales.","El importante papel de los litógrafos en el proceso creativo de estas etiquetas no puede ser subestimado. Compañías como la American Lithographic Company y la Klingenberg Detmond Company desempeñaron un papel fundamental en la producción de etiquetas cromolitográficas de alta calidad que se volverían icónicas en la industria. La Klingenberg Detmond Company, por ejemplo, era conocida por su meticulosa atención al detalle y paletas de colores vibrantes para sus etiquetas de cigarros, lo que las hacía destacar en un mercado competitivo. Otros importantes contribuyentes conocidos incluyen Lithographic Germany, Consolidated Lithographing Corporation, Moehle Lithographic Company y muchos más, que aportaron sus propias técnicas únicas y capacidades artísticas al paisaje de las etiquetas de cigarros. La ampliamente conocida Compañía Litográfica de La Habana enriqueció aún más la oferta al enfocarse en diseños que reflejaban la identidad cubana, integrando tradiciones artísticas locales con métodos de impresión contemporáneos.","El aspecto multilingue de estas etiquetas habla mucho sobre el atractivo global de los cigarros cubanos y la cultura que los rodea. Al dirigirse a una audiencia diversa, los fabricantes aseguraron que sus productos llegaran a consumidores de diversos orígenes, mejorando así la reputación de los cigarros como símbolo de sofisticación y estatus. Las etiquetas a menudo presentaban idiomas como español, inglés, francés, alemán y muchos más, subrayando la demanda internacional de estos productos y bienes lujosos. Colectivamente, estas etiquetas cromolitográficas cuentan una rica historia cultural, fusionando la artesanía artística con las dinámicas económicas y sociales de sus respectivos períodos. Se mantendrán como coleccionables apreciados, ofreciendo un vistazo a la vibrante historia de la industria del tabaco de cigarros cubanos y la perdurable atracción y estética de sus cigarros.","Osterweil Collection of Cigar Labels (USF) https://digitalcommons.usf.edu/osterweil/, Tampa Cigar Industry and Art Collection (USF) https://digitalcommons.usf.edu/tampa_cigar_art/, Tobacco Art Collection (UM) https://atom.library.miami.edu/chc5279, Cigar City Collection (DLOC) https://www.dloc.com/results?filter=creator:Cigar%20City%20Collection, Florida Department of State Museum of Florida History https://museumoffloridahistory.com/explore/collections/cigar-box-labels/.","The Cigar Label Collection at Florida International University (FIU) Special Collections serves as a vital resource for understanding the rich history and cultural significance of the Cuban cigar industry during the early 20th century, in parts of Cuba and global communities. The collection encompasses a wide range of materials dating back to the late 19th century to the mid-20th century, it includes cigar bands and chromolithographic cigar box labels. The collection contains numerous Cuban cigar manufacturers and brands, offering insights into the artistic styles that defined the industry's golden age. Highlighting the intricate artistry of cigar label lithographs and their role in the branding and marketing of Cuban cigars. Preserving these labels would give researchers a chance to see for themselves the delicate process of lithographic imagery in Cuban cigar manufacturing and marketing.","\nLa Colección de Etiquetas de Cigarros en las Special Collections de la Florida International University (FIU) sirve como un recurso vital para comprender la historia y el significado cultural de la industria del cigarro cubano durante el siglo XX, tanto en partes de Cuba como en comunidades globales. La colección abarca una amplia gama de materiales que datan desde finales del siglo XIX hasta mediados del siglo XX, e incluye anillas de cigarros y etiquetas de cajas de cigarros en cromolitografía. La colección contiene numerosos fabricantes y marcas de cigarros cubanos, ofreciendo perspectivas sobre los estilos artísticos que definieron la edad dorada de la industria. Destaca la intrincada artesanía de las litografías de etiquetas de cigarros y su papel en la marca y el marketing de los cigarros cubanos. Preservar estas etiquetas brindaría a los investigadores la oportunidad de observar el delicado proceso de la imaginería litográfica en la fabricación y comercialización de cigarros cubanos.","Rights. The Cigar Label Collection are owned by Florida International University. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.","Collection of cigar labels from the late 19th century to the early 20th century.","FIU Special Collections","Adlerpost Cigar Company (New York City, New York)","Henry Clay Company (Trenton, New Jersey)","American Lithographic Company","Ramon Alvarez \u0026 Company (Tampa, Florida)","Perfecto Garcia \u0026 Brothers (Ybor City, Tampa, Florida)","Jose Pepin Garcia (Miami, Florida)","S.L. Lee \u0026 Sons (Ybor City, Tampa, Florida)","Consolidated Lithographing Corporation","M.M. Sevis \u0026 Sons (Springvale, Pennsylvania)","C. Garcia \u0026 Cia Habana (Havana, Cuba)","Castle Hall (New York City, New York)","William D. Castro (Miami, Florida)","Bear Company","Maryland Lithographic Company","Cima de Luxe (Esteli, Nicaragua)","Covered Wagon Cigar","Klingenberg Detmond Company","M. Bustillo and Company (Hillsborough County, Tampa, Florida)","El Predomino Cigar Company Manufacturers (Tampa, Florida)","Don Nieto Cigar Factory","San Martin and Son Cigar Company (Hillsborough County, Tampa, Florida)","Moehle Litho Company","David S. Erb \u0026 Co. (Boyertown, Pennsylvania)","Baum-Jaffe Company (Philadelphia, Pennsylvania)","A.W. \u0026 S","Wettig Gedeponeerd (Netherlands)","E. Goss \u0026 Company (San Francisco, California)","G.A.K. \u0026 Company","Wolverine Cigar Company","East Prospect Cigar Company (East Prospect, Pennsylvania)","T. J. Kennedy Tobacco Company","F. Garcia \u0026 Brothers (Hillsborough County, Tampa, Florida)","F. Villar \u0026 Company ","Charles B. Perkins Company (Boston, Massachusetts)","M.H. Smaltz \u0026 Son (Womelsdorf, Pennsylvania)","M. Alonso \u0026 Company","Alfonso Rios \u0026 Company","Charles L. Boak (Harrisburg, Pennsylvania)","Pasbach Voice","H. Upmann (Havana, Cuba)","George S. Harris \u0026 Sons Litho","Heijnen \u0026 Company (Eindhoven, Netherlands)","Louis E. Neuman \u0026 Company Litho","Hofnar Sigarenfabrieken (Netherlands)","Salvador Rodriguez, Inc. (Tampa, Florida)","Compania Litografica de la Habana (Havana, Cuba)","Kerssemakers-Rath \u0026 Company (Netherlands)","Kyra Cigar Company (West Africa)","La Balca Havana Cigars","Calvert Litho Company","S. Hersheim Brothers \u0026 Company (New Orleans, Louisiana)","Moller, Kokeritz \u0026 Company (New York City, New York)","Litho Germany (Germany)","Victor Alvarez (Havana, Cuba)","Krueger \u0026 Braun Litho","C.B. Henschel Manufacturing Company","Corral, Wodiska y Ca.","Meyer Patur Cigar Company (Chicago, Illinois)","G. S. \u0026 Company","J.H. Hamann (Chicago, Illinois)","La Victoria Cigar Corporation (New York City, New York)","B \u0026 B Cigar Company (Kalamazoo, Michigan)","D.S. Erb \u0026 Company (New York City, New York)","Otto Berndt \u0026 Son (Chicago, Illinois)","Leon Real","Grommes and Ulrich Cigar Company (Hillsborough County, Tampa, Florida)","Louis C. Wagner \u0026 Company","M. Bustillo \u0026 Merriam (Hillsborough County, Tampa, Florida)","J.Jimenez Perez (New York City, New York)","Hermann Shott Rheydt","A.C. Henschel \u0026 Company","Moller Koreritz ","P.M. \u0026 F.","Marcelino Perez Cigar Company (Hillsborough County, Tampa, Florida)","Club Royal","Lozano, Pendas, and Company","Wohl \u0026 Comstock Co. ","Litho George Schlegel (New York)","Por Larranaga (Havana, Cuba)","El Arte Cigar Company","John T. Stier \u0026 Sons Cigar Company (Louisville, Kentucky)","Tampa Cuba Cigar Company (Ybor City, Tampa, Florida)","Romeo y Julieta (Havana, Cuba)","Pedro Perez Cigar Company (Ybor City, Tampa, Florida)","The Graham-Ernst Cigar Company","Kohler Snyder Company","J.A. Mcadoo","Louis Heltman Company","Celestino Costello \u0026 Company","H.E. Ackerburg","Golden Bros","A.H. Belo \u0026 Company","Luis Zamorano Gonzalez","Willem II (Netherlands)","Spanish; Castilian"],"unitid_tesim":["SPC6005","/repositories/2/resources/127"],"normalized_date_ssm":["Dating back to the late 19th century all the way to the mid-20th century."],"normalized_title_ssm":["Cigar Label Collection, Dating back to the late 19th century all the way to the mid-20th century."],"collection_title_tesim":["Cigar Label Collection, Dating back to the late 19th century all the way to the mid-20th century."],"collection_ssim":["Cigar Label Collection, Dating back to the late 19th century all the way to the mid-20th century."],"repository_ssm":["FIU Special Collections"],"repository_ssim":["FIU Special Collections"],"access_terms_ssm":["Rights. The Cigar Label Collection are owned by Florida International University. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws."],"has_online_content_ssim":["false"],"extent_ssm":["217 items"],"extent_tesim":["217 items"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research."],"bioghist_html_tesm":["\u003cp\u003eOmar Amador, a Cuban native now residing in Miami, Florida has cultivated an impressive collection of Cuban memorabilia, with a particular focus on chromolithographic cigar labels. His passion for preserving rich cultural heritage of Cuba is reflected in the depth and diversity of his collection. \nThese Cuban cigar labels date back from the late 19th and early 20th centuries as a vibrant testament to the artistry and marketing ingenuity of the cigar industry during this time period. \u003c/p\u003e\n","\u003cp\u003eWith the rise of chromolithography revolutionizing label productions all over the globe, it allowed for the creation of rich, multi-colored designs that adorned cigar boxes to consumers. These labels were not just decorative to cigar-lovers alike but they served as a crucial marketing ploy to demonstrate the quality and craftsmanship behind these cigars. With a collection that features 217 labels that present a diverse range of languages and styles, one can appreciate the artistic heritage that these labels represent. Reflecting not only the local Cuban culture but a broader international context of cigar consumption.\u003c/p\u003e\n","\u003cp\u003eAmong the prominent manufacturers featured in this collection of labels, such as M. Bustillo Company, F. Garcia \u0026amp; Brothers, Alfonso Rios \u0026amp; Company, and M.M. Sevis \u0026amp; Sons, amongst other small known companies. Each of these companies contributed uniquely to the visual identity of their products. M. Bustillo Company was really well-known for its elegant designs that would usually incorporate floral motifs and classical themes, while F. Garcia \u0026amp; Brothers emphasizes the quality and c\nraftsmanship of their cigars through the use of bold and striking imagery. Alfonso Rios \u0026amp; Company and M.M. Sevis \u0026amp; Sons both similarly highly focuses on capturing the essence of Cuban heritage in their visual imagery through labels, utilizing local symbols and artistic iconographical styles that resonated with consumers both national and international. \u003c/p\u003e\n","\u003cp\u003eThe important role of lithographers in the creative process of these labels cannot be overstated. Companies such as the American Lithographic Company and the Klingenberg Detmond Company played a pivotal role in producing high-quality chromolithographic labels that would become iconic within the industry. The Klingenberg Detmond Company, for example, was renowned for its meticulous attention to detail and vibrant color palettes for their cigar labels, making them stand out in a competitive market. Other known significant contributors would include the Lithographic Germany, Consolidated Lithographing Corporation, Moehle Lithographic Company, and many more bringing in their own unique techniques and artistic capabilities to the cigar label landscape. Widely known Compania Litografica de la Habana further enriched the offerings by focusing on designs that reflected Cuban identity, integrating local artistic traditions with contemporary printing methods. \u003c/p\u003e\n","\u003cp\u003eThe multilingual aspect of these labels speaks volumes about the global appeal of Cuban cigars and the culture behind them. By catering to a diverse audience, manufacturers ensured that their products reached consumers from various backgrounds, therefore enhancing the cigars' reputation as a symbol of sophistication and status. Labels would often featured languages such as Spanish, English, French, German, and many more, underscoring the international demand for these luxurious products and goods. Collectively, these chromolithographic labels tell such a rich cultural history, blending artistic craftsmanship with the economic and social dynamics of their respective time periods. They will stand as cherished collectibles, offering a glimpse into the vibrant story of Cuban cigar tobacco industry and the enduring allure and aesthetic of its cigars. \u003c/p\u003e\n","\u003cp\u003e\nOmar Amador, un cubano nativo que ahora reside en Miami, Florida, ha cultivado una impresionante colecci\u0026#xF3;n de memorabilia cubana, con un enfoque particular en las etiquetas de cigarros en cromolitograf\u0026#xED;a. Su pasi\u0026#xF3;n por preservar el rico patrimonio cultural de Cuba se refleja en la profundidad y diversidad de su colecci\u0026#xF3;n.\u003c/p\u003e\n","\u003cp\u003eEstas etiquetas de cigarros cubanos datan de finales del siglo XIX y principios del siglo XX, como un vibrante testimonio del arte y la ingeniosidad en marketing de la industria del cigarro durante este per\u0026#xED;odo. Con el auge de la cromolitograf\u0026#xED;a, que revolucion\u0026#xF3; la producci\u0026#xF3;n de etiquetas en todo el mundo, se permiti\u0026#xF3; la creaci\u0026#xF3;n de dise\u0026#xF1;os ricos y multicolores que adornaban las cajas de cigarros para los consumidores. Estas etiquetas no solo eran decorativas para los amantes de los cigarros, sino que tambi\u0026#xE9;n serv\u0026#xED;an como una estrategia de marketing crucial para demostrar la calidad y el artesanado detr\u0026#xE1;s de estos cigarros. Con una colecci\u0026#xF3;n que presenta 217 etiquetas que abarcan una diversa gama de idiomas y estilos, se puede apreciar el patrimonio art\u0026#xED;stico que estas etiquetas representan, reflejando no solo la cultura local cubana, sino un contexto internacional m\u0026#xE1;s amplio del consumo de cigarros.\u003c/p\u003e\n","\u003cp\u003eEntre los destacados fabricantes que aparecen en esta colecci\u0026#xF3;n de etiquetas, se encuentran la M. Bustillo Company, F. Garcia \u0026amp; Brothers, Alfonso Rios \u0026amp; Company y M.M. Sevis \u0026amp; Sons, entre otras peque\u0026#xF1;as empresas menos conocidas. Cada una de estas compa\u0026#xF1;\u0026#xED;as contribuy\u0026#xF3; de manera \u0026#xFA;nica a la identidad visual de sus productos. El M. Bustillo Company era muy conocida por sus elegantes dise\u0026#xF1;os que generalmente incorporaban motivos florales y temas cl\u0026#xE1;sicos, mientras que F. Garcia \u0026amp; Brothers enfatizaba la calidad y el artesanado de sus cigarros mediante el uso de im\u0026#xE1;genes audaces y llamativas. Tanto Alfonso Rios \u0026amp; Company como M.M. Sevis \u0026amp; Sons se enfocaron en capturar la esencia del patrimonio cubano en su imaginer\u0026#xED;a visual a trav\u0026#xE9;s de etiquetas, utilizando s\u0026#xED;mbolos locales y estilos iconogr\u0026#xE1;ficos art\u0026#xED;sticos que resonaban con los consumidores, tanto nacionales como internacionales.\u003c/p\u003e\n","\u003cp\u003eEl importante papel de los lit\u0026#xF3;grafos en el proceso creativo de estas etiquetas no puede ser subestimado. Compa\u0026#xF1;\u0026#xED;as como la American Lithographic Company y la Klingenberg Detmond Company desempe\u0026#xF1;aron un papel fundamental en la producci\u0026#xF3;n de etiquetas cromolitogr\u0026#xE1;ficas de alta calidad que se volver\u0026#xED;an ic\u0026#xF3;nicas en la industria. La Klingenberg Detmond Company, por ejemplo, era conocida por su meticulosa atenci\u0026#xF3;n al detalle y paletas de colores vibrantes para sus etiquetas de cigarros, lo que las hac\u0026#xED;a destacar en un mercado competitivo. Otros importantes contribuyentes conocidos incluyen Lithographic Germany, Consolidated Lithographing Corporation, Moehle Lithographic Company y muchos m\u0026#xE1;s, que aportaron sus propias t\u0026#xE9;cnicas \u0026#xFA;nicas y capacidades art\u0026#xED;sticas al paisaje de las etiquetas de cigarros. La ampliamente conocida Compa\u0026#xF1;\u0026#xED;a Litogr\u0026#xE1;fica de La Habana enriqueci\u0026#xF3; a\u0026#xFA;n m\u0026#xE1;s la oferta al enfocarse en dise\u0026#xF1;os que reflejaban la identidad cubana, integrando tradiciones art\u0026#xED;sticas locales con m\u0026#xE9;todos de impresi\u0026#xF3;n contempor\u0026#xE1;neos.\u003c/p\u003e\n","\u003cp\u003eEl aspecto multilingue de estas etiquetas habla mucho sobre el atractivo global de los cigarros cubanos y la cultura que los rodea. Al dirigirse a una audiencia diversa, los fabricantes aseguraron que sus productos llegaran a consumidores de diversos or\u0026#xED;genes, mejorando as\u0026#xED; la reputaci\u0026#xF3;n de los cigarros como s\u0026#xED;mbolo de sofisticaci\u0026#xF3;n y estatus. Las etiquetas a menudo presentaban idiomas como espa\u0026#xF1;ol, ingl\u0026#xE9;s, franc\u0026#xE9;s, alem\u0026#xE1;n y muchos m\u0026#xE1;s, subrayando la demanda internacional de estos productos y bienes lujosos. Colectivamente, estas etiquetas cromolitogr\u0026#xE1;ficas cuentan una rica historia cultural, fusionando la artesan\u0026#xED;a art\u0026#xED;stica con las din\u0026#xE1;micas econ\u0026#xF3;micas y sociales de sus respectivos per\u0026#xED;odos. Se mantendr\u0026#xE1;n como coleccionables apreciados, ofreciendo un vistazo a la vibrante historia de la industria del tabaco de cigarros cubanos y la perdurable atracci\u0026#xF3;n y est\u0026#xE9;tica de sus cigarros.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Omar Amador, a Cuban native now residing in Miami, Florida has cultivated an impressive collection of Cuban memorabilia, with a particular focus on chromolithographic cigar labels. His passion for preserving rich cultural heritage of Cuba is reflected in the depth and diversity of his collection. \nThese Cuban cigar labels date back from the late 19th and early 20th centuries as a vibrant testament to the artistry and marketing ingenuity of the cigar industry during this time period. ","With the rise of chromolithography revolutionizing label productions all over the globe, it allowed for the creation of rich, multi-colored designs that adorned cigar boxes to consumers. These labels were not just decorative to cigar-lovers alike but they served as a crucial marketing ploy to demonstrate the quality and craftsmanship behind these cigars. With a collection that features 217 labels that present a diverse range of languages and styles, one can appreciate the artistic heritage that these labels represent. Reflecting not only the local Cuban culture but a broader international context of cigar consumption.","Among the prominent manufacturers featured in this collection of labels, such as M. Bustillo Company, F. Garcia \u0026 Brothers, Alfonso Rios \u0026 Company, and M.M. Sevis \u0026 Sons, amongst other small known companies. Each of these companies contributed uniquely to the visual identity of their products. M. Bustillo Company was really well-known for its elegant designs that would usually incorporate floral motifs and classical themes, while F. Garcia \u0026 Brothers emphasizes the quality and c\nraftsmanship of their cigars through the use of bold and striking imagery. Alfonso Rios \u0026 Company and M.M. Sevis \u0026 Sons both similarly highly focuses on capturing the essence of Cuban heritage in their visual imagery through labels, utilizing local symbols and artistic iconographical styles that resonated with consumers both national and international. ","The important role of lithographers in the creative process of these labels cannot be overstated. Companies such as the American Lithographic Company and the Klingenberg Detmond Company played a pivotal role in producing high-quality chromolithographic labels that would become iconic within the industry. The Klingenberg Detmond Company, for example, was renowned for its meticulous attention to detail and vibrant color palettes for their cigar labels, making them stand out in a competitive market. Other known significant contributors would include the Lithographic Germany, Consolidated Lithographing Corporation, Moehle Lithographic Company, and many more bringing in their own unique techniques and artistic capabilities to the cigar label landscape. Widely known Compania Litografica de la Habana further enriched the offerings by focusing on designs that reflected Cuban identity, integrating local artistic traditions with contemporary printing methods. ","The multilingual aspect of these labels speaks volumes about the global appeal of Cuban cigars and the culture behind them. By catering to a diverse audience, manufacturers ensured that their products reached consumers from various backgrounds, therefore enhancing the cigars' reputation as a symbol of sophistication and status. Labels would often featured languages such as Spanish, English, French, German, and many more, underscoring the international demand for these luxurious products and goods. Collectively, these chromolithographic labels tell such a rich cultural history, blending artistic craftsmanship with the economic and social dynamics of their respective time periods. They will stand as cherished collectibles, offering a glimpse into the vibrant story of Cuban cigar tobacco industry and the enduring allure and aesthetic of its cigars. ","\nOmar Amador, un cubano nativo que ahora reside en Miami, Florida, ha cultivado una impresionante colección de memorabilia cubana, con un enfoque particular en las etiquetas de cigarros en cromolitografía. Su pasión por preservar el rico patrimonio cultural de Cuba se refleja en la profundidad y diversidad de su colección.","Estas etiquetas de cigarros cubanos datan de finales del siglo XIX y principios del siglo XX, como un vibrante testimonio del arte y la ingeniosidad en marketing de la industria del cigarro durante este período. Con el auge de la cromolitografía, que revolucionó la producción de etiquetas en todo el mundo, se permitió la creación de diseños ricos y multicolores que adornaban las cajas de cigarros para los consumidores. Estas etiquetas no solo eran decorativas para los amantes de los cigarros, sino que también servían como una estrategia de marketing crucial para demostrar la calidad y el artesanado detrás de estos cigarros. Con una colección que presenta 217 etiquetas que abarcan una diversa gama de idiomas y estilos, se puede apreciar el patrimonio artístico que estas etiquetas representan, reflejando no solo la cultura local cubana, sino un contexto internacional más amplio del consumo de cigarros.","Entre los destacados fabricantes que aparecen en esta colección de etiquetas, se encuentran la M. Bustillo Company, F. Garcia \u0026 Brothers, Alfonso Rios \u0026 Company y M.M. Sevis \u0026 Sons, entre otras pequeñas empresas menos conocidas. Cada una de estas compañías contribuyó de manera única a la identidad visual de sus productos. El M. Bustillo Company era muy conocida por sus elegantes diseños que generalmente incorporaban motivos florales y temas clásicos, mientras que F. Garcia \u0026 Brothers enfatizaba la calidad y el artesanado de sus cigarros mediante el uso de imágenes audaces y llamativas. Tanto Alfonso Rios \u0026 Company como M.M. Sevis \u0026 Sons se enfocaron en capturar la esencia del patrimonio cubano en su imaginería visual a través de etiquetas, utilizando símbolos locales y estilos iconográficos artísticos que resonaban con los consumidores, tanto nacionales como internacionales.","El importante papel de los litógrafos en el proceso creativo de estas etiquetas no puede ser subestimado. Compañías como la American Lithographic Company y la Klingenberg Detmond Company desempeñaron un papel fundamental en la producción de etiquetas cromolitográficas de alta calidad que se volverían icónicas en la industria. La Klingenberg Detmond Company, por ejemplo, era conocida por su meticulosa atención al detalle y paletas de colores vibrantes para sus etiquetas de cigarros, lo que las hacía destacar en un mercado competitivo. Otros importantes contribuyentes conocidos incluyen Lithographic Germany, Consolidated Lithographing Corporation, Moehle Lithographic Company y muchos más, que aportaron sus propias técnicas únicas y capacidades artísticas al paisaje de las etiquetas de cigarros. La ampliamente conocida Compañía Litográfica de La Habana enriqueció aún más la oferta al enfocarse en diseños que reflejaban la identidad cubana, integrando tradiciones artísticas locales con métodos de impresión contemporáneos.","El aspecto multilingue de estas etiquetas habla mucho sobre el atractivo global de los cigarros cubanos y la cultura que los rodea. Al dirigirse a una audiencia diversa, los fabricantes aseguraron que sus productos llegaran a consumidores de diversos orígenes, mejorando así la reputación de los cigarros como símbolo de sofisticación y estatus. Las etiquetas a menudo presentaban idiomas como español, inglés, francés, alemán y muchos más, subrayando la demanda internacional de estos productos y bienes lujosos. Colectivamente, estas etiquetas cromolitográficas cuentan una rica historia cultural, fusionando la artesanía artística con las dinámicas económicas y sociales de sus respectivos períodos. Se mantendrán como coleccionables apreciados, ofreciendo un vistazo a la vibrante historia de la industria del tabaco de cigarros cubanos y la perdurable atracción y estética de sus cigarros."],"relatedmaterial_html_tesm":["\u003cp\u003eOsterweil Collection of Cigar Labels (USF) https://digitalcommons.usf.edu/osterweil/, Tampa Cigar Industry and Art Collection (USF) https://digitalcommons.usf.edu/tampa_cigar_art/, Tobacco Art Collection (UM) https://atom.library.miami.edu/chc5279, Cigar City Collection (DLOC) https://www.dloc.com/results?filter=creator:Cigar%20City%20Collection, Florida Department of State Museum of Florida History https://museumoffloridahistory.com/explore/collections/cigar-box-labels/.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Osterweil Collection of Cigar Labels (USF) https://digitalcommons.usf.edu/osterweil/, Tampa Cigar Industry and Art Collection (USF) https://digitalcommons.usf.edu/tampa_cigar_art/, Tobacco Art Collection (UM) https://atom.library.miami.edu/chc5279, Cigar City Collection (DLOC) https://www.dloc.com/results?filter=creator:Cigar%20City%20Collection, Florida Department of State Museum of Florida History https://museumoffloridahistory.com/explore/collections/cigar-box-labels/."],"scopecontent_html_tesm":["\u003cp\u003eThe Cigar Label Collection at Florida International University (FIU) Special Collections serves as a vital resource for understanding the rich history and cultural significance of the Cuban cigar industry during the early 20th century, in parts of Cuba and global communities. The collection encompasses a wide range of materials dating back to the late 19th century to the mid-20th century, it includes cigar bands and chromolithographic cigar box labels. The collection contains numerous Cuban cigar manufacturers and brands, offering insights into the artistic styles that defined the industry's golden age. Highlighting the intricate artistry of cigar label lithographs and their role in the branding and marketing of Cuban cigars. Preserving these labels would give researchers a chance to see for themselves the delicate process of lithographic imagery in Cuban cigar manufacturing and marketing.\u003c/p\u003e\n","\u003cp\u003e\nLa Colecci\u0026#xF3;n de Etiquetas de Cigarros en las Special Collections de la Florida International University (FIU) sirve como un recurso vital para comprender la historia y el significado cultural de la industria del cigarro cubano durante el siglo XX, tanto en partes de Cuba como en comunidades globales. La colecci\u0026#xF3;n abarca una amplia gama de materiales que datan desde finales del siglo XIX hasta mediados del siglo XX, e incluye anillas de cigarros y etiquetas de cajas de cigarros en cromolitograf\u0026#xED;a. La colecci\u0026#xF3;n contiene numerosos fabricantes y marcas de cigarros cubanos, ofreciendo perspectivas sobre los estilos art\u0026#xED;sticos que definieron la edad dorada de la industria. Destaca la intrincada artesan\u0026#xED;a de las litograf\u0026#xED;as de etiquetas de cigarros y su papel en la marca y el marketing de los cigarros cubanos. Preservar estas etiquetas brindar\u0026#xED;a a los investigadores la oportunidad de observar el delicado proceso de la imaginer\u0026#xED;a litogr\u0026#xE1;fica en la fabricaci\u0026#xF3;n y comercializaci\u0026#xF3;n de cigarros cubanos.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The Cigar Label Collection at Florida International University (FIU) Special Collections serves as a vital resource for understanding the rich history and cultural significance of the Cuban cigar industry during the early 20th century, in parts of Cuba and global communities. The collection encompasses a wide range of materials dating back to the late 19th century to the mid-20th century, it includes cigar bands and chromolithographic cigar box labels. The collection contains numerous Cuban cigar manufacturers and brands, offering insights into the artistic styles that defined the industry's golden age. Highlighting the intricate artistry of cigar label lithographs and their role in the branding and marketing of Cuban cigars. Preserving these labels would give researchers a chance to see for themselves the delicate process of lithographic imagery in Cuban cigar manufacturing and marketing.","\nLa Colección de Etiquetas de Cigarros en las Special Collections de la Florida International University (FIU) sirve como un recurso vital para comprender la historia y el significado cultural de la industria del cigarro cubano durante el siglo XX, tanto en partes de Cuba como en comunidades globales. La colección abarca una amplia gama de materiales que datan desde finales del siglo XIX hasta mediados del siglo XX, e incluye anillas de cigarros y etiquetas de cajas de cigarros en cromolitografía. La colección contiene numerosos fabricantes y marcas de cigarros cubanos, ofreciendo perspectivas sobre los estilos artísticos que definieron la edad dorada de la industria. Destaca la intrincada artesanía de las litografías de etiquetas de cigarros y su papel en la marca y el marketing de los cigarros cubanos. Preservar estas etiquetas brindaría a los investigadores la oportunidad de observar el delicado proceso de la imaginería litográfica en la fabricación y comercialización de cigarros cubanos."],"userestrict_html_tesm":["\u003cp\u003eRights. The Cigar Label Collection are owned by Florida International University. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Rights. The Cigar Label Collection are owned by Florida International University. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws."],"abstract_html_tesm":["\u003cabstract id=\"aspace_7de0ce202f1579f9c58731ee3ee794be\"\u003eCollection of cigar labels from the late 19th century to the early 20th century.\u003c/abstract\u003e"],"abstract_tesim":["Collection of cigar labels from the late 19th century to the early 20th century."],"names_ssim":["FIU Special Collections","Adlerpost Cigar Company (New York City, New York)","Henry Clay Company (Trenton, New Jersey)","American Lithographic Company","Ramon Alvarez \u0026 Company (Tampa, Florida)","Perfecto Garcia \u0026 Brothers (Ybor City, Tampa, Florida)","Jose Pepin Garcia (Miami, Florida)","S.L. Lee \u0026 Sons (Ybor City, Tampa, Florida)","Consolidated Lithographing Corporation","M.M. Sevis \u0026 Sons (Springvale, Pennsylvania)","C. Garcia \u0026 Cia Habana (Havana, Cuba)","Castle Hall (New York City, New York)","William D. Castro (Miami, Florida)","Bear Company","Maryland Lithographic Company","Cima de Luxe (Esteli, Nicaragua)","Covered Wagon Cigar","Klingenberg Detmond Company","M. Bustillo and Company (Hillsborough County, Tampa, Florida)","El Predomino Cigar Company Manufacturers (Tampa, Florida)","Don Nieto Cigar Factory","San Martin and Son Cigar Company (Hillsborough County, Tampa, Florida)","Moehle Litho Company","David S. Erb \u0026 Co. (Boyertown, Pennsylvania)","Baum-Jaffe Company (Philadelphia, Pennsylvania)","A.W. \u0026 S","Wettig Gedeponeerd (Netherlands)","E. Goss \u0026 Company (San Francisco, California)","G.A.K. \u0026 Company","Wolverine Cigar Company","East Prospect Cigar Company (East Prospect, Pennsylvania)","T. J. Kennedy Tobacco Company","F. Garcia \u0026 Brothers (Hillsborough County, Tampa, Florida)","F. Villar \u0026 Company ","Charles B. Perkins Company (Boston, Massachusetts)","M.H. Smaltz \u0026 Son (Womelsdorf, Pennsylvania)","M. Alonso \u0026 Company","Alfonso Rios \u0026 Company","Charles L. Boak (Harrisburg, Pennsylvania)","Pasbach Voice","H. Upmann (Havana, Cuba)","George S. Harris \u0026 Sons Litho","Heijnen \u0026 Company (Eindhoven, Netherlands)","Louis E. Neuman \u0026 Company Litho","Hofnar Sigarenfabrieken (Netherlands)","Salvador Rodriguez, Inc. (Tampa, Florida)","Compania Litografica de la Habana (Havana, Cuba)","Kerssemakers-Rath \u0026 Company (Netherlands)","Kyra Cigar Company (West Africa)","La Balca Havana Cigars","Calvert Litho Company","S. Hersheim Brothers \u0026 Company (New Orleans, Louisiana)","Moller, Kokeritz \u0026 Company (New York City, New York)","Litho Germany (Germany)","Victor Alvarez (Havana, Cuba)","Krueger \u0026 Braun Litho","C.B. Henschel Manufacturing Company","Corral, Wodiska y Ca.","Meyer Patur Cigar Company (Chicago, Illinois)","G. S. \u0026 Company","J.H. Hamann (Chicago, Illinois)","La Victoria Cigar Corporation (New York City, New York)","B \u0026 B Cigar Company (Kalamazoo, Michigan)","D.S. Erb \u0026 Company (New York City, New York)","Otto Berndt \u0026 Son (Chicago, Illinois)","Leon Real","Grommes and Ulrich Cigar Company (Hillsborough County, Tampa, Florida)","Louis C. Wagner \u0026 Company","M. Bustillo \u0026 Merriam (Hillsborough County, Tampa, Florida)","J.Jimenez Perez (New York City, New York)","Hermann Shott Rheydt","A.C. Henschel \u0026 Company","Moller Koreritz ","P.M. \u0026 F.","Marcelino Perez Cigar Company (Hillsborough County, Tampa, Florida)","Club Royal","Lozano, Pendas, and Company","Wohl \u0026 Comstock Co. ","Litho George Schlegel (New York)","Por Larranaga (Havana, Cuba)","El Arte Cigar Company","John T. Stier \u0026 Sons Cigar Company (Louisville, Kentucky)","Tampa Cuba Cigar Company (Ybor City, Tampa, Florida)","Romeo y Julieta (Havana, Cuba)","Pedro Perez Cigar Company (Ybor City, Tampa, Florida)","The Graham-Ernst Cigar Company","Kohler Snyder Company","J.A. Mcadoo","Louis Heltman Company","Celestino Costello \u0026 Company","H.E. Ackerburg","Golden Bros","A.H. Belo \u0026 Company","Luis Zamorano Gonzalez","Willem II (Netherlands)"],"corpname_ssim":["FIU Special Collections","Adlerpost Cigar Company (New York City, New York)","Henry Clay Company (Trenton, New Jersey)","American Lithographic Company","Ramon Alvarez \u0026 Company (Tampa, Florida)","Perfecto Garcia \u0026 Brothers (Ybor City, Tampa, Florida)","Jose Pepin Garcia (Miami, Florida)","S.L. Lee \u0026 Sons (Ybor City, Tampa, Florida)","Consolidated Lithographing Corporation","M.M. Sevis \u0026 Sons (Springvale, Pennsylvania)","C. Garcia \u0026 Cia Habana (Havana, Cuba)","Castle Hall (New York City, New York)","William D. Castro (Miami, Florida)","Bear Company","Maryland Lithographic Company","Cima de Luxe (Esteli, Nicaragua)","Covered Wagon Cigar","Klingenberg Detmond Company","M. Bustillo and Company (Hillsborough County, Tampa, Florida)","El Predomino Cigar Company Manufacturers (Tampa, Florida)","Don Nieto Cigar Factory","San Martin and Son Cigar Company (Hillsborough County, Tampa, Florida)","Moehle Litho Company","David S. Erb \u0026 Co. (Boyertown, Pennsylvania)","Baum-Jaffe Company (Philadelphia, Pennsylvania)","A.W. \u0026 S","Wettig Gedeponeerd (Netherlands)","E. Goss \u0026 Company (San Francisco, California)","G.A.K. \u0026 Company","Wolverine Cigar Company","East Prospect Cigar Company (East Prospect, Pennsylvania)","T. J. Kennedy Tobacco Company","F. Garcia \u0026 Brothers (Hillsborough County, Tampa, Florida)","F. Villar \u0026 Company ","Charles B. Perkins Company (Boston, Massachusetts)","M.H. Smaltz \u0026 Son (Womelsdorf, Pennsylvania)","M. Alonso \u0026 Company","Alfonso Rios \u0026 Company","Charles L. Boak (Harrisburg, Pennsylvania)","Pasbach Voice","H. Upmann (Havana, Cuba)","George S. Harris \u0026 Sons Litho","Heijnen \u0026 Company (Eindhoven, Netherlands)","Louis E. Neuman \u0026 Company Litho","Hofnar Sigarenfabrieken (Netherlands)","Salvador Rodriguez, Inc. (Tampa, Florida)","Compania Litografica de la Habana (Havana, Cuba)","Kerssemakers-Rath \u0026 Company (Netherlands)","Kyra Cigar Company (West Africa)","La Balca Havana Cigars","Calvert Litho Company","S. Hersheim Brothers \u0026 Company (New Orleans, Louisiana)","Moller, Kokeritz \u0026 Company (New York City, New York)","Litho Germany (Germany)","Victor Alvarez (Havana, Cuba)","Krueger \u0026 Braun Litho","C.B. Henschel Manufacturing Company","Corral, Wodiska y Ca.","Meyer Patur Cigar Company (Chicago, Illinois)","G. S. \u0026 Company","J.H. Hamann (Chicago, Illinois)","La Victoria Cigar Corporation (New York City, New York)","B \u0026 B Cigar Company (Kalamazoo, Michigan)","D.S. Erb \u0026 Company (New York City, New York)","Otto Berndt \u0026 Son (Chicago, Illinois)","Leon Real","Grommes and Ulrich Cigar Company (Hillsborough County, Tampa, Florida)","Louis C. Wagner \u0026 Company","M. Bustillo \u0026 Merriam (Hillsborough County, Tampa, Florida)","J.Jimenez Perez (New York City, New York)","Hermann Shott Rheydt","A.C. Henschel \u0026 Company","Moller Koreritz ","P.M. \u0026 F.","Marcelino Perez Cigar Company (Hillsborough County, Tampa, Florida)","Club Royal","Lozano, Pendas, and Company","Wohl \u0026 Comstock Co. ","Litho George Schlegel (New York)","Por Larranaga (Havana, Cuba)","El Arte Cigar Company","John T. Stier \u0026 Sons Cigar Company (Louisville, Kentucky)","Tampa Cuba Cigar Company (Ybor City, Tampa, Florida)","Romeo y Julieta (Havana, Cuba)","Pedro Perez Cigar Company (Ybor City, Tampa, Florida)","The Graham-Ernst Cigar Company","Kohler Snyder Company","J.A. Mcadoo","Louis Heltman Company","Celestino Costello \u0026 Company","H.E. Ackerburg","Golden Bros","A.H. Belo \u0026 Company","Luis Zamorano Gonzalez","Willem II (Netherlands)"],"language_ssim":["Spanish; Castilian"],"total_component_count_is":217,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870844493513621504,"_root_":"1fb60b2a237557e58ed95300","timestamp":"2026-07-16T04:32:23.451Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/1fb60b2a237557e58ed95300"}},{"id":"02e6768c8de9bbedcf989f55","type":"collection","attributes":{"title":"Cinema Corporation of America Collection, 1925-1981, bulk 1925-1932","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/02e6768c8de9bbedcf989f55#abstract_or_scope","type":"document_value","attributes":{"value":["The Cinema Corporation of America Collection documents the history of this film distribution company, and American producer and director Cecil B. DeMille's role in its founding."],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/02e6768c8de9bbedcf989f55#breadcrumbs","type":"document_value","attributes":{"value":[{"id":"02e6768c8de9bbedcf989f55","title_ssm":["Cinema Corporation of America Collection"],"title_tesim":["Cinema Corporation of America Collection"],"ead_ssi":"02e6768c8de9bbedcf989f55","unitdate_ssm":["1925-1981","1925-1932"],"unitdate_bulk_ssim":["1925-1932"],"unitdate_inclusive_ssm":["1925-1981"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS 2004-008","/repositories/10/resources/515"],"text":["MSS 2004-008","/repositories/10/resources/515","Cinema Corporation of America Collection, 1925-1981, bulk 1925-1932","Bible films.","Feature films.","Motion picture industry--California--Los Angeles--History","Motion picture industry--United States.","Motion pictures--United States--Distribution","Silent films.","Advertising fliers","Interviews.","Pamphlets","Comic books, strips, etc.","Clippings (Books, newspapers, etc.)","Contracts.","Correspondence","Deeds","Financial Records","Legal documents.","Manuscripts","Photographs","Postcards.","Posters.","This 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.","In 1916, American motion-picture director and producer Cecil B. DeMille became \"director general\" of the Famous Players-Lasky Corporation, the nucleus of what would soon become Paramount Pictures. According to DeMille archivist James D'Arc at Brigham Young University's Film Music Archives, DeMille, in early 1922, terminated his ties with Famous Players-Lasky, purchased the Ince Studio in Culver City, California, and formed his own production unit, Cecil B. DeMille Productions, Inc. This company operated under the aegis of Paramount Pictures for most of the rest of his career. DeMille contracted to release his films through Jeremiah Milbank's Producers Distributing Corporation. The Ince Studio later became Selznick International Pictures, and finally became Pathe.\n From 1919-1922, DeMille concentrated on producing and directing films that portrayed a liberated sexual morality, while continuing to endorse traditional values. By 1923, however, the Hollywood film industry was charged with promoting immorality. While attempting to help redeem the industry from these charges, DeMille decided to produce a new film genre for which he was best known for the remainder of his career: spectacular historical and biblical epics. The first two examples of these productions, \"The Ten Commandments\" (1923; silent version) and \"The King of Kings\" (1927; originally silent), were immediately successful at the box office. According to Alan F. Martin's son Robert, \"The King of Kings\" premiere was the film that opened Grauman's Chinese Theatre in Hollywood. To take advantage of the newly introduced technique of sound, \"The King of Kings\" went into general release in 1928, complete with a score arranged by Hugo Riesenfeld. Since that time, the film has been seen in this form.\n In 1925, DeMille left Paramount Pictures and organized the Cinema Corporation of America as a holding company that owned the stock of the Producer's Distributing Corporation and a new subsidiary, Cecil B. DeMille Pictures Corporation, controlled jointly by Milbank and DeMille. DeMille's position in the corporation was undermined by the fact that his features - those directed by himself as well as those under his supervision at DeMille Productions - were earning modest, if any, profits. His $2 million expenditure for \"The King of Kings,\" although the film was quite successful, \"created a crisis that threatened bankruptcy\" and led to the merger of Producer's Distributing Corporation, the Keith Albee-Orpheum chain, and the Pathe Exchange in 1927. That year, Keith Albee-Orpheum was renamed Radio-Keith-Orpheum (RKO), and RKO took over control of Pathe. Cinema Corporation of America was kept in existence for the purpose of distributing \"The King of Kings.\" It owned the copyright to that film, which was renewed in 1955.\n DeMille's alliance with Cinema Corporation of America was short-lived, however, and in 1928 he took his staff from Cecil B. DeMille Productions, Inc. to Metro-Goldwyn-Mayer. At his request, DeMille rejoined Paramount in 1931, and began producing and directing lavish films such as \"The Sign of the Cross (1932), \"Cleopatra\" (1934), and \"The Crusades\" (1935). From that time on, DeMille's association with larger-than-life, big-budget films became legendary.\n Through the work of the Cinema Corporation of America and its Vice-President Alan F. Martin, Cecil B. DeMille's most enduring film, \"The King of Kings,\" has been in constant theatrical and non-theatrical distribution since 1927. According to Robert Martin, his father \"was the single reason 'The King of Kings' stayed available to the public for close to 40 years.\" Alan F. Martin created the educational film strips and study guides for the movie and had the titles translated into dozens of languages. The film was used by missionaries all over the world and was still being shown by church groups and in theatres into the 1970s. In August 1971, Cinema Corporation of America sold all of its assets, including its copyright to \"The King of Kings,\" to Modern Sound Pictures.","Portions of collection available online?: No","This collection was processed from December 2004-January 2005 by Burt Altman.","The Cinema Corporation of America Collection documents Cecil B. DeMille's role in the founding of the company and its film distribution activities in later years under Vice President Alan F. Martin. The collection includes production materials for \"The King of Kings\" and other films; correspondence, business records, legal materials; educational filmstrips; religious film catalogs, and the \"Cap Stubbs and Tippie\" newspaper cartoon strips created and drawn by Edwina Dumm, which first appeared in 1918. They were purchased by the Cinema Corporation of America in the mid 1920s.","Copyright has not been assigned to the Florida State University Libraries.\n 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 and 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.","The Cinema Corporation of America Collection documents the history of this film distribution company, and American producer and director Cecil B. DeMille's role in its founding.","FSU Special Collections \u0026 Archives","DeMille Pictures Corporation","Cinema Corporation of America","DeMille, Cecil B. (Cecil Blount), 1881-1959","Logan, Jacqueline","Martin, Alan F.","English"],"unitid_tesim":["MSS 2004-008","/repositories/10/resources/515"],"normalized_date_ssm":["1925-1981, bulk 1925-1932"],"normalized_title_ssm":["Cinema Corporation of America Collection, 1925-1981, bulk 1925-1932"],"collection_title_tesim":["Cinema Corporation of America Collection, 1925-1981, bulk 1925-1932"],"collection_ssim":["Cinema Corporation of America Collection, 1925-1981, bulk 1925-1932"],"repository_ssm":["FSU Special Collections \u0026 Archives"],"repository_ssim":["FSU Special Collections \u0026 Archives"],"access_terms_ssm":["Copyright has not been assigned to the Florida State University Libraries.\n 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 and 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":["The Cinema Corporation of America Collection was given to Special Collections by Mr. Robert Martin in July 2004."],"access_subjects_ssim":["Bible films.","Feature films.","Motion picture industry--California--Los Angeles--History","Motion picture industry--United States.","Motion pictures--United States--Distribution","Silent films.","Advertising fliers","Interviews.","Pamphlets","Comic books, strips, etc.","Clippings (Books, newspapers, etc.)","Contracts.","Correspondence","Deeds","Financial Records","Legal documents.","Manuscripts","Photographs","Postcards.","Posters."],"access_subjects_ssm":["Bible films.","Feature films.","Motion picture industry--California--Los Angeles--History","Motion picture industry--United States.","Motion pictures--United States--Distribution","Silent films.","Advertising fliers","Interviews.","Pamphlets","Comic books, strips, etc.","Clippings (Books, newspapers, etc.)","Contracts.","Correspondence","Deeds","Financial Records","Legal documents.","Manuscripts","Photographs","Postcards.","Posters."],"has_online_content_ssim":["false"],"extent_ssm":["5.70 Linear Feet"],"extent_tesim":["5.70 Linear Feet"],"genreform_ssim":["Comic books, strips, etc.","Clippings (Books, newspapers, etc.)","Contracts.","Correspondence","Deeds","Financial Records","Legal documents.","Manuscripts","Photographs","Postcards.","Posters."],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eThis collection 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":["This 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\u003eIn 1916, American motion-picture director and producer Cecil B. DeMille became \"director general\" of the Famous Players-Lasky Corporation, the nucleus of what would soon become Paramount Pictures. According to DeMille archivist James D'Arc at Brigham Young University's Film Music Archives, DeMille, in early 1922, terminated his ties with Famous Players-Lasky, purchased the Ince Studio in Culver City, California, and formed his own production unit, Cecil B. DeMille Productions, Inc. This company operated under the aegis of Paramount Pictures for most of the rest of his career. DeMille contracted to release his films through Jeremiah Milbank's Producers Distributing Corporation. The Ince Studio later became Selznick International Pictures, and finally became Pathe.\n\u003cbr\u003e\u003cbr\u003eFrom 1919-1922, DeMille concentrated on producing and directing films that portrayed a liberated sexual morality, while continuing to endorse traditional values. By 1923, however, the Hollywood film industry was charged with promoting immorality. While attempting to help redeem the industry from these charges, DeMille decided to produce a new film genre for which he was best known for the remainder of his career: spectacular historical and biblical epics. The first two examples of these productions, \"The Ten Commandments\" (1923; silent version) and \"The King of Kings\" (1927; originally silent), were immediately successful at the box office. According to Alan F. Martin's son Robert, \"The King of Kings\" premiere was the film that opened Grauman's Chinese Theatre in Hollywood. To take advantage of the newly introduced technique of sound, \"The King of Kings\" went into general release in 1928, complete with a score arranged by Hugo Riesenfeld. Since that time, the film has been seen in this form.\n\u003cbr\u003e\u003cbr\u003eIn 1925, DeMille left Paramount Pictures and organized the Cinema Corporation of America as a holding company that owned the stock of the Producer's Distributing Corporation and a new subsidiary, Cecil B. DeMille Pictures Corporation, controlled jointly by Milbank and DeMille. DeMille's position in the corporation was undermined by the fact that his features - those directed by himself as well as those under his supervision at DeMille Productions - were earning modest, if any, profits. His $2 million expenditure for \"The King of Kings,\" although the film was quite successful, \"created a crisis that threatened bankruptcy\" and led to the merger of Producer's Distributing Corporation, the Keith Albee-Orpheum chain, and the Pathe Exchange in 1927. That year, Keith Albee-Orpheum was renamed Radio-Keith-Orpheum (RKO), and RKO took over control of Pathe. Cinema Corporation of America was kept in existence for the purpose of distributing \"The King of Kings.\" It owned the copyright to that film, which was renewed in 1955.\n\u003cbr\u003e\u003cbr\u003eDeMille's alliance with Cinema Corporation of America was short-lived, however, and in 1928 he took his staff from Cecil B. DeMille Productions, Inc. to Metro-Goldwyn-Mayer. At his request, DeMille rejoined Paramount in 1931, and began producing and directing lavish films such as \"The Sign of the Cross (1932), \"Cleopatra\" (1934), and \"The Crusades\" (1935). From that time on, DeMille's association with larger-than-life, big-budget films became legendary.\n\u003cbr\u003e\u003cbr\u003eThrough the work of the Cinema Corporation of America and its Vice-President Alan F. Martin, Cecil B. DeMille's most enduring film, \"The King of Kings,\" has been in constant theatrical and non-theatrical distribution since 1927. According to Robert Martin, his father \"was the single reason 'The King of Kings' stayed available to the public for close to 40 years.\" Alan F. Martin created the educational film strips and study guides for the movie and had the titles translated into dozens of languages. The film was used by missionaries all over the world and was still being shown by church groups and in theatres into the 1970s. In August 1971, Cinema Corporation of America sold all of its assets, including its copyright to \"The King of Kings,\" to Modern Sound Pictures.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["In 1916, American motion-picture director and producer Cecil B. DeMille became \"director general\" of the Famous Players-Lasky Corporation, the nucleus of what would soon become Paramount Pictures. According to DeMille archivist James D'Arc at Brigham Young University's Film Music Archives, DeMille, in early 1922, terminated his ties with Famous Players-Lasky, purchased the Ince Studio in Culver City, California, and formed his own production unit, Cecil B. DeMille Productions, Inc. This company operated under the aegis of Paramount Pictures for most of the rest of his career. DeMille contracted to release his films through Jeremiah Milbank's Producers Distributing Corporation. The Ince Studio later became Selznick International Pictures, and finally became Pathe.\n From 1919-1922, DeMille concentrated on producing and directing films that portrayed a liberated sexual morality, while continuing to endorse traditional values. By 1923, however, the Hollywood film industry was charged with promoting immorality. While attempting to help redeem the industry from these charges, DeMille decided to produce a new film genre for which he was best known for the remainder of his career: spectacular historical and biblical epics. The first two examples of these productions, \"The Ten Commandments\" (1923; silent version) and \"The King of Kings\" (1927; originally silent), were immediately successful at the box office. According to Alan F. Martin's son Robert, \"The King of Kings\" premiere was the film that opened Grauman's Chinese Theatre in Hollywood. To take advantage of the newly introduced technique of sound, \"The King of Kings\" went into general release in 1928, complete with a score arranged by Hugo Riesenfeld. Since that time, the film has been seen in this form.\n In 1925, DeMille left Paramount Pictures and organized the Cinema Corporation of America as a holding company that owned the stock of the Producer's Distributing Corporation and a new subsidiary, Cecil B. DeMille Pictures Corporation, controlled jointly by Milbank and DeMille. DeMille's position in the corporation was undermined by the fact that his features - those directed by himself as well as those under his supervision at DeMille Productions - were earning modest, if any, profits. His $2 million expenditure for \"The King of Kings,\" although the film was quite successful, \"created a crisis that threatened bankruptcy\" and led to the merger of Producer's Distributing Corporation, the Keith Albee-Orpheum chain, and the Pathe Exchange in 1927. That year, Keith Albee-Orpheum was renamed Radio-Keith-Orpheum (RKO), and RKO took over control of Pathe. Cinema Corporation of America was kept in existence for the purpose of distributing \"The King of Kings.\" It owned the copyright to that film, which was renewed in 1955.\n DeMille's alliance with Cinema Corporation of America was short-lived, however, and in 1928 he took his staff from Cecil B. DeMille Productions, Inc. to Metro-Goldwyn-Mayer. At his request, DeMille rejoined Paramount in 1931, and began producing and directing lavish films such as \"The Sign of the Cross (1932), \"Cleopatra\" (1934), and \"The Crusades\" (1935). From that time on, DeMille's association with larger-than-life, big-budget films became legendary.\n Through the work of the Cinema Corporation of America and its Vice-President Alan F. Martin, Cecil B. DeMille's most enduring film, \"The King of Kings,\" has been in constant theatrical and non-theatrical distribution since 1927. According to Robert Martin, his father \"was the single reason 'The King of Kings' stayed available to the public for close to 40 years.\" Alan F. Martin created the educational film strips and study guides for the movie and had the titles translated into dozens of languages. The film was used by missionaries all over the world and was still being shown by church groups and in theatres into the 1970s. In August 1971, Cinema Corporation of America sold all of its assets, including its copyright to \"The King of Kings,\" to Modern Sound Pictures."],"originalsloc_html_tesm":["\u003cp\u003ePortions of collection available online?: No\u003c/p\u003e"],"originalsloc_heading_ssm":["Existence and Location of Originals"],"originalsloc_tesim":["Portions of collection available online?: No"],"prefercite_html_tesm":["\u003cp\u003eCinema Corporation of America Collection, Special Collections, Florida State University Libraries, Tallahassee, Florida.\nhttps://purl.lib.fsu.edu/fa/MSS-2004-008\u003c/p\u003e"],"prefercite_tesim":["Cinema Corporation of America Collection, Special Collections, Florida State University Libraries, Tallahassee, Florida.\nhttps://purl.lib.fsu.edu/fa/MSS-2004-008"],"processinfo_html_tesm":["\u003cp\u003eThis collection was processed from December 2004-January 2005 by Burt Altman.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["This collection was processed from December 2004-January 2005 by Burt Altman."],"scopecontent_html_tesm":["\u003cp\u003eThe Cinema Corporation of America Collection documents Cecil B. DeMille's role in the founding of the company and its film distribution activities in later years under Vice President Alan F. Martin. The collection includes production materials for \"The King of Kings\" and other films; correspondence, business records, legal materials; educational filmstrips; religious film catalogs, and the \"Cap Stubbs and Tippie\" newspaper cartoon strips created and drawn by Edwina Dumm, which first appeared in 1918. They were purchased by the Cinema Corporation of America in the mid 1920s.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The Cinema Corporation of America Collection documents Cecil B. DeMille's role in the founding of the company and its film distribution activities in later years under Vice President Alan F. Martin. The collection includes production materials for \"The King of Kings\" and other films; correspondence, business records, legal materials; educational filmstrips; religious film catalogs, and the \"Cap Stubbs and Tippie\" newspaper cartoon strips created and drawn by Edwina Dumm, which first appeared in 1918. They were purchased by the Cinema Corporation of America in the mid 1920s."],"userestrict_html_tesm":["\u003cp\u003eCopyright has not been assigned to the Florida State University Libraries.\n\u003cbr\u003e\u003cbr\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 and 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":["Copyright has not been assigned to the Florida State University Libraries.\n 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 and 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."],"abstract_html_tesm":["\u003cabstract id=\"aspace_55d7c421357e27123341549dc34b5103\" label=\"Abstract\"\u003eThe Cinema Corporation of America Collection documents the history of this film distribution company, and American producer and director Cecil B. DeMille's role in its founding.\u003c/abstract\u003e"],"abstract_tesim":["The Cinema Corporation of America Collection documents the history of this film distribution company, and American producer and director Cecil B. DeMille's role in its founding."],"names_coll_ssim":["DeMille Pictures Corporation","Cinema Corporation of America","DeMille, Cecil B. (Cecil Blount), 1881-1959","Logan, Jacqueline","Martin, Alan F."],"names_ssim":["FSU Special Collections \u0026 Archives","DeMille Pictures Corporation","Cinema Corporation of America","DeMille, Cecil B. (Cecil Blount), 1881-1959","Logan, Jacqueline","Martin, Alan F."],"corpname_ssim":["FSU Special Collections \u0026 Archives","DeMille Pictures Corporation","Cinema Corporation of America"],"persname_ssim":["DeMille, Cecil B. (Cecil Blount), 1881-1959","Logan, Jacqueline","Martin, Alan F."],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":76,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"02e6768c8de9bbedcf989f55","timestamp":"2026-07-08T11:19:32.323Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"02e6768c8de9bbedcf989f55","title_ssm":["Cinema Corporation of America Collection"],"title_tesim":["Cinema Corporation of America Collection"],"ead_ssi":"02e6768c8de9bbedcf989f55","unitdate_ssm":["1925-1981","1925-1932"],"unitdate_bulk_ssim":["1925-1932"],"unitdate_inclusive_ssm":["1925-1981"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS 2004-008","/repositories/10/resources/515"],"text":["MSS 2004-008","/repositories/10/resources/515","Cinema Corporation of America Collection, 1925-1981, bulk 1925-1932","Bible films.","Feature films.","Motion picture industry--California--Los Angeles--History","Motion picture industry--United States.","Motion pictures--United States--Distribution","Silent films.","Advertising fliers","Interviews.","Pamphlets","Comic books, strips, etc.","Clippings (Books, newspapers, etc.)","Contracts.","Correspondence","Deeds","Financial Records","Legal documents.","Manuscripts","Photographs","Postcards.","Posters.","This 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.","In 1916, American motion-picture director and producer Cecil B. DeMille became \"director general\" of the Famous Players-Lasky Corporation, the nucleus of what would soon become Paramount Pictures. According to DeMille archivist James D'Arc at Brigham Young University's Film Music Archives, DeMille, in early 1922, terminated his ties with Famous Players-Lasky, purchased the Ince Studio in Culver City, California, and formed his own production unit, Cecil B. DeMille Productions, Inc. This company operated under the aegis of Paramount Pictures for most of the rest of his career. DeMille contracted to release his films through Jeremiah Milbank's Producers Distributing Corporation. The Ince Studio later became Selznick International Pictures, and finally became Pathe.\n From 1919-1922, DeMille concentrated on producing and directing films that portrayed a liberated sexual morality, while continuing to endorse traditional values. By 1923, however, the Hollywood film industry was charged with promoting immorality. While attempting to help redeem the industry from these charges, DeMille decided to produce a new film genre for which he was best known for the remainder of his career: spectacular historical and biblical epics. The first two examples of these productions, \"The Ten Commandments\" (1923; silent version) and \"The King of Kings\" (1927; originally silent), were immediately successful at the box office. According to Alan F. Martin's son Robert, \"The King of Kings\" premiere was the film that opened Grauman's Chinese Theatre in Hollywood. To take advantage of the newly introduced technique of sound, \"The King of Kings\" went into general release in 1928, complete with a score arranged by Hugo Riesenfeld. Since that time, the film has been seen in this form.\n In 1925, DeMille left Paramount Pictures and organized the Cinema Corporation of America as a holding company that owned the stock of the Producer's Distributing Corporation and a new subsidiary, Cecil B. DeMille Pictures Corporation, controlled jointly by Milbank and DeMille. DeMille's position in the corporation was undermined by the fact that his features - those directed by himself as well as those under his supervision at DeMille Productions - were earning modest, if any, profits. His $2 million expenditure for \"The King of Kings,\" although the film was quite successful, \"created a crisis that threatened bankruptcy\" and led to the merger of Producer's Distributing Corporation, the Keith Albee-Orpheum chain, and the Pathe Exchange in 1927. That year, Keith Albee-Orpheum was renamed Radio-Keith-Orpheum (RKO), and RKO took over control of Pathe. Cinema Corporation of America was kept in existence for the purpose of distributing \"The King of Kings.\" It owned the copyright to that film, which was renewed in 1955.\n DeMille's alliance with Cinema Corporation of America was short-lived, however, and in 1928 he took his staff from Cecil B. DeMille Productions, Inc. to Metro-Goldwyn-Mayer. At his request, DeMille rejoined Paramount in 1931, and began producing and directing lavish films such as \"The Sign of the Cross (1932), \"Cleopatra\" (1934), and \"The Crusades\" (1935). From that time on, DeMille's association with larger-than-life, big-budget films became legendary.\n Through the work of the Cinema Corporation of America and its Vice-President Alan F. Martin, Cecil B. DeMille's most enduring film, \"The King of Kings,\" has been in constant theatrical and non-theatrical distribution since 1927. According to Robert Martin, his father \"was the single reason 'The King of Kings' stayed available to the public for close to 40 years.\" Alan F. Martin created the educational film strips and study guides for the movie and had the titles translated into dozens of languages. The film was used by missionaries all over the world and was still being shown by church groups and in theatres into the 1970s. In August 1971, Cinema Corporation of America sold all of its assets, including its copyright to \"The King of Kings,\" to Modern Sound Pictures.","Portions of collection available online?: No","This collection was processed from December 2004-January 2005 by Burt Altman.","The Cinema Corporation of America Collection documents Cecil B. DeMille's role in the founding of the company and its film distribution activities in later years under Vice President Alan F. Martin. The collection includes production materials for \"The King of Kings\" and other films; correspondence, business records, legal materials; educational filmstrips; religious film catalogs, and the \"Cap Stubbs and Tippie\" newspaper cartoon strips created and drawn by Edwina Dumm, which first appeared in 1918. They were purchased by the Cinema Corporation of America in the mid 1920s.","Copyright has not been assigned to the Florida State University Libraries.\n 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 and 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.","The Cinema Corporation of America Collection documents the history of this film distribution company, and American producer and director Cecil B. DeMille's role in its founding.","FSU Special Collections \u0026 Archives","DeMille Pictures Corporation","Cinema Corporation of America","DeMille, Cecil B. (Cecil Blount), 1881-1959","Logan, Jacqueline","Martin, Alan F.","English"],"unitid_tesim":["MSS 2004-008","/repositories/10/resources/515"],"normalized_date_ssm":["1925-1981, bulk 1925-1932"],"normalized_title_ssm":["Cinema Corporation of America Collection, 1925-1981, bulk 1925-1932"],"collection_title_tesim":["Cinema Corporation of America Collection, 1925-1981, bulk 1925-1932"],"collection_ssim":["Cinema Corporation of America Collection, 1925-1981, bulk 1925-1932"],"repository_ssm":["FSU Special Collections \u0026 Archives"],"repository_ssim":["FSU Special Collections \u0026 Archives"],"access_terms_ssm":["Copyright has not been assigned to the Florida State University Libraries.\n 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 and 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":["The Cinema Corporation of America Collection was given to Special Collections by Mr. Robert Martin in July 2004."],"access_subjects_ssim":["Bible films.","Feature films.","Motion picture industry--California--Los Angeles--History","Motion picture industry--United States.","Motion pictures--United States--Distribution","Silent films.","Advertising fliers","Interviews.","Pamphlets","Comic books, strips, etc.","Clippings (Books, newspapers, etc.)","Contracts.","Correspondence","Deeds","Financial Records","Legal documents.","Manuscripts","Photographs","Postcards.","Posters."],"access_subjects_ssm":["Bible films.","Feature films.","Motion picture industry--California--Los Angeles--History","Motion picture industry--United States.","Motion pictures--United States--Distribution","Silent films.","Advertising fliers","Interviews.","Pamphlets","Comic books, strips, etc.","Clippings (Books, newspapers, etc.)","Contracts.","Correspondence","Deeds","Financial Records","Legal documents.","Manuscripts","Photographs","Postcards.","Posters."],"has_online_content_ssim":["false"],"extent_ssm":["5.70 Linear Feet"],"extent_tesim":["5.70 Linear Feet"],"genreform_ssim":["Comic books, strips, etc.","Clippings (Books, newspapers, etc.)","Contracts.","Correspondence","Deeds","Financial Records","Legal documents.","Manuscripts","Photographs","Postcards.","Posters."],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eThis collection 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":["This 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\u003eIn 1916, American motion-picture director and producer Cecil B. DeMille became \"director general\" of the Famous Players-Lasky Corporation, the nucleus of what would soon become Paramount Pictures. According to DeMille archivist James D'Arc at Brigham Young University's Film Music Archives, DeMille, in early 1922, terminated his ties with Famous Players-Lasky, purchased the Ince Studio in Culver City, California, and formed his own production unit, Cecil B. DeMille Productions, Inc. This company operated under the aegis of Paramount Pictures for most of the rest of his career. DeMille contracted to release his films through Jeremiah Milbank's Producers Distributing Corporation. The Ince Studio later became Selznick International Pictures, and finally became Pathe.\n\u003cbr\u003e\u003cbr\u003eFrom 1919-1922, DeMille concentrated on producing and directing films that portrayed a liberated sexual morality, while continuing to endorse traditional values. By 1923, however, the Hollywood film industry was charged with promoting immorality. While attempting to help redeem the industry from these charges, DeMille decided to produce a new film genre for which he was best known for the remainder of his career: spectacular historical and biblical epics. The first two examples of these productions, \"The Ten Commandments\" (1923; silent version) and \"The King of Kings\" (1927; originally silent), were immediately successful at the box office. According to Alan F. Martin's son Robert, \"The King of Kings\" premiere was the film that opened Grauman's Chinese Theatre in Hollywood. To take advantage of the newly introduced technique of sound, \"The King of Kings\" went into general release in 1928, complete with a score arranged by Hugo Riesenfeld. Since that time, the film has been seen in this form.\n\u003cbr\u003e\u003cbr\u003eIn 1925, DeMille left Paramount Pictures and organized the Cinema Corporation of America as a holding company that owned the stock of the Producer's Distributing Corporation and a new subsidiary, Cecil B. DeMille Pictures Corporation, controlled jointly by Milbank and DeMille. DeMille's position in the corporation was undermined by the fact that his features - those directed by himself as well as those under his supervision at DeMille Productions - were earning modest, if any, profits. His $2 million expenditure for \"The King of Kings,\" although the film was quite successful, \"created a crisis that threatened bankruptcy\" and led to the merger of Producer's Distributing Corporation, the Keith Albee-Orpheum chain, and the Pathe Exchange in 1927. That year, Keith Albee-Orpheum was renamed Radio-Keith-Orpheum (RKO), and RKO took over control of Pathe. Cinema Corporation of America was kept in existence for the purpose of distributing \"The King of Kings.\" It owned the copyright to that film, which was renewed in 1955.\n\u003cbr\u003e\u003cbr\u003eDeMille's alliance with Cinema Corporation of America was short-lived, however, and in 1928 he took his staff from Cecil B. DeMille Productions, Inc. to Metro-Goldwyn-Mayer. At his request, DeMille rejoined Paramount in 1931, and began producing and directing lavish films such as \"The Sign of the Cross (1932), \"Cleopatra\" (1934), and \"The Crusades\" (1935). From that time on, DeMille's association with larger-than-life, big-budget films became legendary.\n\u003cbr\u003e\u003cbr\u003eThrough the work of the Cinema Corporation of America and its Vice-President Alan F. Martin, Cecil B. DeMille's most enduring film, \"The King of Kings,\" has been in constant theatrical and non-theatrical distribution since 1927. According to Robert Martin, his father \"was the single reason 'The King of Kings' stayed available to the public for close to 40 years.\" Alan F. Martin created the educational film strips and study guides for the movie and had the titles translated into dozens of languages. The film was used by missionaries all over the world and was still being shown by church groups and in theatres into the 1970s. In August 1971, Cinema Corporation of America sold all of its assets, including its copyright to \"The King of Kings,\" to Modern Sound Pictures.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["In 1916, American motion-picture director and producer Cecil B. DeMille became \"director general\" of the Famous Players-Lasky Corporation, the nucleus of what would soon become Paramount Pictures. According to DeMille archivist James D'Arc at Brigham Young University's Film Music Archives, DeMille, in early 1922, terminated his ties with Famous Players-Lasky, purchased the Ince Studio in Culver City, California, and formed his own production unit, Cecil B. DeMille Productions, Inc. This company operated under the aegis of Paramount Pictures for most of the rest of his career. DeMille contracted to release his films through Jeremiah Milbank's Producers Distributing Corporation. The Ince Studio later became Selznick International Pictures, and finally became Pathe.\n From 1919-1922, DeMille concentrated on producing and directing films that portrayed a liberated sexual morality, while continuing to endorse traditional values. By 1923, however, the Hollywood film industry was charged with promoting immorality. While attempting to help redeem the industry from these charges, DeMille decided to produce a new film genre for which he was best known for the remainder of his career: spectacular historical and biblical epics. The first two examples of these productions, \"The Ten Commandments\" (1923; silent version) and \"The King of Kings\" (1927; originally silent), were immediately successful at the box office. According to Alan F. Martin's son Robert, \"The King of Kings\" premiere was the film that opened Grauman's Chinese Theatre in Hollywood. To take advantage of the newly introduced technique of sound, \"The King of Kings\" went into general release in 1928, complete with a score arranged by Hugo Riesenfeld. Since that time, the film has been seen in this form.\n In 1925, DeMille left Paramount Pictures and organized the Cinema Corporation of America as a holding company that owned the stock of the Producer's Distributing Corporation and a new subsidiary, Cecil B. DeMille Pictures Corporation, controlled jointly by Milbank and DeMille. DeMille's position in the corporation was undermined by the fact that his features - those directed by himself as well as those under his supervision at DeMille Productions - were earning modest, if any, profits. His $2 million expenditure for \"The King of Kings,\" although the film was quite successful, \"created a crisis that threatened bankruptcy\" and led to the merger of Producer's Distributing Corporation, the Keith Albee-Orpheum chain, and the Pathe Exchange in 1927. That year, Keith Albee-Orpheum was renamed Radio-Keith-Orpheum (RKO), and RKO took over control of Pathe. Cinema Corporation of America was kept in existence for the purpose of distributing \"The King of Kings.\" It owned the copyright to that film, which was renewed in 1955.\n DeMille's alliance with Cinema Corporation of America was short-lived, however, and in 1928 he took his staff from Cecil B. DeMille Productions, Inc. to Metro-Goldwyn-Mayer. At his request, DeMille rejoined Paramount in 1931, and began producing and directing lavish films such as \"The Sign of the Cross (1932), \"Cleopatra\" (1934), and \"The Crusades\" (1935). From that time on, DeMille's association with larger-than-life, big-budget films became legendary.\n Through the work of the Cinema Corporation of America and its Vice-President Alan F. Martin, Cecil B. DeMille's most enduring film, \"The King of Kings,\" has been in constant theatrical and non-theatrical distribution since 1927. According to Robert Martin, his father \"was the single reason 'The King of Kings' stayed available to the public for close to 40 years.\" Alan F. Martin created the educational film strips and study guides for the movie and had the titles translated into dozens of languages. The film was used by missionaries all over the world and was still being shown by church groups and in theatres into the 1970s. In August 1971, Cinema Corporation of America sold all of its assets, including its copyright to \"The King of Kings,\" to Modern Sound Pictures."],"originalsloc_html_tesm":["\u003cp\u003ePortions of collection available online?: No\u003c/p\u003e"],"originalsloc_heading_ssm":["Existence and Location of Originals"],"originalsloc_tesim":["Portions of collection available online?: No"],"prefercite_html_tesm":["\u003cp\u003eCinema Corporation of America Collection, Special Collections, Florida State University Libraries, Tallahassee, Florida.\nhttps://purl.lib.fsu.edu/fa/MSS-2004-008\u003c/p\u003e"],"prefercite_tesim":["Cinema Corporation of America Collection, Special Collections, Florida State University Libraries, Tallahassee, Florida.\nhttps://purl.lib.fsu.edu/fa/MSS-2004-008"],"processinfo_html_tesm":["\u003cp\u003eThis collection was processed from December 2004-January 2005 by Burt Altman.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["This collection was processed from December 2004-January 2005 by Burt Altman."],"scopecontent_html_tesm":["\u003cp\u003eThe Cinema Corporation of America Collection documents Cecil B. DeMille's role in the founding of the company and its film distribution activities in later years under Vice President Alan F. Martin. The collection includes production materials for \"The King of Kings\" and other films; correspondence, business records, legal materials; educational filmstrips; religious film catalogs, and the \"Cap Stubbs and Tippie\" newspaper cartoon strips created and drawn by Edwina Dumm, which first appeared in 1918. They were purchased by the Cinema Corporation of America in the mid 1920s.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The Cinema Corporation of America Collection documents Cecil B. DeMille's role in the founding of the company and its film distribution activities in later years under Vice President Alan F. Martin. The collection includes production materials for \"The King of Kings\" and other films; correspondence, business records, legal materials; educational filmstrips; religious film catalogs, and the \"Cap Stubbs and Tippie\" newspaper cartoon strips created and drawn by Edwina Dumm, which first appeared in 1918. They were purchased by the Cinema Corporation of America in the mid 1920s."],"userestrict_html_tesm":["\u003cp\u003eCopyright has not been assigned to the Florida State University Libraries.\n\u003cbr\u003e\u003cbr\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 and 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":["Copyright has not been assigned to the Florida State University Libraries.\n 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 and 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."],"abstract_html_tesm":["\u003cabstract id=\"aspace_55d7c421357e27123341549dc34b5103\" label=\"Abstract\"\u003eThe Cinema Corporation of America Collection documents the history of this film distribution company, and American producer and director Cecil B. DeMille's role in its founding.\u003c/abstract\u003e"],"abstract_tesim":["The Cinema Corporation of America Collection documents the history of this film distribution company, and American producer and director Cecil B. DeMille's role in its founding."],"names_coll_ssim":["DeMille Pictures Corporation","Cinema Corporation of America","DeMille, Cecil B. (Cecil Blount), 1881-1959","Logan, Jacqueline","Martin, Alan F."],"names_ssim":["FSU Special Collections \u0026 Archives","DeMille Pictures Corporation","Cinema Corporation of America","DeMille, Cecil B. (Cecil Blount), 1881-1959","Logan, Jacqueline","Martin, Alan F."],"corpname_ssim":["FSU Special Collections \u0026 Archives","DeMille Pictures Corporation","Cinema Corporation of America"],"persname_ssim":["DeMille, Cecil B. (Cecil Blount), 1881-1959","Logan, Jacqueline","Martin, Alan F."],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":76,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"02e6768c8de9bbedcf989f55","timestamp":"2026-07-08T11:19:32.323Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/02e6768c8de9bbedcf989f55"}},{"id":"792b05f55d172a62ab9f2a96","type":"collection","attributes":{"title":"Citrus Park Colored School collection, 1921-1996, 1996-11-20","creator":{"id":"https://flvc.lyrasistechnology.org/catalog/792b05f55d172a62ab9f2a96#creator","type":"document_value","attributes":{"value":["Historic Tampa-Hillsborough County Preservation Board"],"label":"Creator"}},"abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/792b05f55d172a62ab9f2a96#abstract_or_scope","type":"document_value","attributes":{"value":["Collection consists of research materials used by the Historic Tampa-Hillsborough County Preservation Board to designate the Citrus Park Colored School as an historic landmark."],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/792b05f55d172a62ab9f2a96#breadcrumbs","type":"document_value","attributes":{"value":[{"id":"792b05f55d172a62ab9f2a96","title_ssm":["Citrus Park Colored School collection"],"title_tesim":["Citrus Park Colored School collection"],"ead_ssi":"792b05f55d172a62ab9f2a96","unitdate_ssm":["1921-1996","1996-11-20"],"unitdate_inclusive_ssm":["1921-1996"],"unitdate_other_ssim":["1996-11-20"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS-1996-03","/repositories/2/resources/468"],"text":["MS-1996-03","/repositories/2/resources/468","Citrus Park Colored School collection, 1921-1996, 1996-11-20","Citrus Park (Fla.) -- History -- 20th Century.","African Americans -- Education -- Florida -- Citrus Park","African Americans -- Education","Schools -- Florida -- Hillsborough County","Additional documents donated by Geoffrey Mohlman in September 2000.","Series","Citrus Park Colored School, built in 1924 on Gunn Highway in Citrus Park, FL was a one-room school house used by the area's African American community. Before closing in 1948, the school building also was used for church meetings and other community activities. In 1949, trustees of the Mt. Pleasant AME Church bought the building and held services there until the 1950s. In 1996, the Citrus Park Colored School, which was known as the Amanda James Fellowship Building, was designated a Hillsborough County Landmark.","published","Complete","Historic Tampa-Hillsborough County Preservation Board Collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.","The collection includes drafts of the designation report, correspondence, school rosters, deeds, minutes, photographs, and maps of the Citrus Park area.  Many of the items are photocopies. Eight audiocassettes of five tape-recorded interviews (June - August 1996) used to support the historical and cultural role the Citrus Park Colored School played in the community are missing.","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 consists of research materials used by the Historic Tampa-Hillsborough County Preservation Board to designate the Citrus Park Colored School as an historic landmark.","USF Libraries - Tampa Special Collections","Historic Tampa-Hillsborough County Preservation Board","Citrus Park Colored School (Citrus Park, Fla.)","Mohlman, Geoffrey","English"],"unitid_tesim":["MS-1996-03","/repositories/2/resources/468"],"normalized_date_ssm":["1921-1996, 1996-11-20"],"normalized_title_ssm":["Citrus Park Colored School collection, 1921-1996, 1996-11-20"],"collection_title_tesim":["Citrus Park Colored School collection, 1921-1996, 1996-11-20"],"collection_ssim":["Citrus Park Colored School collection, 1921-1996, 1996-11-20"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"geogname_ssm":["Citrus Park (Fla.) -- History -- 20th Century."],"geogname_ssim":["Citrus Park (Fla.) -- History -- 20th Century."],"creator_ssm":["Historic Tampa-Hillsborough County Preservation Board","Historic Tampa-Hillsborough County Preservation Board","Mohlman, Geoffrey"],"creator_ssim":["Historic Tampa-Hillsborough County Preservation Board","Historic Tampa-Hillsborough County Preservation Board","Mohlman, Geoffrey"],"creator_persname_ssim":["Mohlman, Geoffrey"],"creator_corpname_ssim":["Historic Tampa-Hillsborough County Preservation Board","Historic Tampa-Hillsborough County Preservation Board"],"creators_ssim":["Mohlman, Geoffrey","Historic Tampa-Hillsborough County Preservation Board","Historic Tampa-Hillsborough County Preservation Board"],"places_ssim":["Citrus Park (Fla.) -- History -- 20th Century."],"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":["Historic Tampa-Hillsborough County Preservation Board","Donation"],"access_subjects_ssim":["African Americans -- Education -- Florida -- Citrus Park","African Americans -- Education","Schools -- Florida -- Hillsborough County"],"access_subjects_ssm":["African Americans -- Education -- Florida -- Citrus Park","African Americans -- Education","Schools -- Florida -- Hillsborough County"],"has_online_content_ssim":["false"],"extent_ssm":["0.21 Linear Feet","2  boxes"],"extent_tesim":["0.21 Linear Feet","2  boxes"],"date_range_isim":[1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996],"accruals_html_tesm":["\u003cp\u003eAdditional documents donated by Geoffrey Mohlman in September 2000.\u003c/p\u003e"],"accruals_heading_ssm":["Accruals and Additions"],"accruals_tesim":["Additional documents donated by Geoffrey Mohlman in September 2000."],"arrangement_html_tesm":["\u003cp\u003eSeries\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["Series"],"bioghist_html_tesm":["\u003cp\u003eCitrus Park Colored School, built in 1924 on Gunn Highway in Citrus Park, FL was a one-room school house used by the area's African American community. Before closing in 1948, the school building also was used for church meetings and other community activities. In 1949, trustees of the Mt. Pleasant AME Church bought the building and held services there until the 1950s. In 1996, the Citrus Park Colored School, which was known as the Amanda James Fellowship Building, was designated a Hillsborough County Landmark.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["Citrus Park Colored School, built in 1924 on Gunn Highway in Citrus Park, FL was a one-room school house used by the area's African American community. Before closing in 1948, the school building also was used for church meetings and other community activities. In 1949, trustees of the Mt. Pleasant AME Church bought the building and held services there until the 1950s. In 1996, the Citrus Park Colored School, which was known as the Amanda James Fellowship Building, was designated a Hillsborough County Landmark."],"odd_html_tesm":["\u003cp\u003epublished\u003c/p\u003e"],"odd_heading_ssm":["Other Descriptive Information"],"odd_tesim":["published"],"prefercite_html_tesm":["\u003cp\u003eCitrus Park Colored School collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"prefercite_tesim":["Citrus Park Colored School collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"processinfo_html_tesm":["\u003cp\u003eComplete\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Complete"],"relatedmaterial_html_tesm":["\u003cp\u003eHistoric Tampa-Hillsborough County Preservation Board Collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Historic Tampa-Hillsborough County Preservation Board Collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"scopecontent_html_tesm":["\u003cp\u003eThe collection includes drafts of the designation report, correspondence, school rosters, deeds, minutes, photographs, and maps of the Citrus Park area.\u0026#xA0; Many of the items are photocopies. Eight audiocassettes of five tape-recorded interviews (June - August 1996) used to support the historical and cultural role the Citrus Park Colored School played in the community are missing.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The collection includes drafts of the designation report, correspondence, school rosters, deeds, minutes, photographs, and maps of the Citrus Park area.  Many of the items are photocopies. Eight audiocassettes of five tape-recorded interviews (June - August 1996) used to support the historical and cultural role the Citrus Park Colored School played in the community are missing."],"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."],"abstract_html_tesm":["\u003cabstract id=\"aspace_8cca7bf8998605ce0aade733ac0fb40d\" label=\"Abstract\"\u003eCollection consists of research materials used by the Historic Tampa-Hillsborough County Preservation Board to designate the Citrus Park Colored School as an historic landmark.\u003c/abstract\u003e"],"abstract_tesim":["Collection consists of research materials used by the Historic Tampa-Hillsborough County Preservation Board to designate the Citrus Park Colored School as an historic landmark."],"names_coll_ssim":["Citrus Park Colored School (Citrus Park, Fla.)","Citrus Park Colored School (Citrus Park, Fla.)","Historic Tampa-Hillsborough County Preservation Board","Mohlman, Geoffrey"],"names_ssim":["USF Libraries - Tampa Special Collections","Historic Tampa-Hillsborough County Preservation Board","Citrus Park Colored School (Citrus Park, Fla.)","Mohlman, Geoffrey"],"corpname_ssim":["USF Libraries - Tampa Special Collections","Historic Tampa-Hillsborough County Preservation Board","Citrus Park Colored School (Citrus Park, Fla.)"],"persname_ssim":["Mohlman, Geoffrey"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":31,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870863131977187328,"_root_":"792b05f55d172a62ab9f2a96","timestamp":"2026-07-16T09:28:38.477Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"792b05f55d172a62ab9f2a96","title_ssm":["Citrus Park Colored School collection"],"title_tesim":["Citrus Park Colored School collection"],"ead_ssi":"792b05f55d172a62ab9f2a96","unitdate_ssm":["1921-1996","1996-11-20"],"unitdate_inclusive_ssm":["1921-1996"],"unitdate_other_ssim":["1996-11-20"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS-1996-03","/repositories/2/resources/468"],"text":["MS-1996-03","/repositories/2/resources/468","Citrus Park Colored School collection, 1921-1996, 1996-11-20","Citrus Park (Fla.) -- History -- 20th Century.","African Americans -- Education -- Florida -- Citrus Park","African Americans -- Education","Schools -- Florida -- Hillsborough County","Additional documents donated by Geoffrey Mohlman in September 2000.","Series","Citrus Park Colored School, built in 1924 on Gunn Highway in Citrus Park, FL was a one-room school house used by the area's African American community. Before closing in 1948, the school building also was used for church meetings and other community activities. In 1949, trustees of the Mt. Pleasant AME Church bought the building and held services there until the 1950s. In 1996, the Citrus Park Colored School, which was known as the Amanda James Fellowship Building, was designated a Hillsborough County Landmark.","published","Complete","Historic Tampa-Hillsborough County Preservation Board Collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.","The collection includes drafts of the designation report, correspondence, school rosters, deeds, minutes, photographs, and maps of the Citrus Park area.  Many of the items are photocopies. Eight audiocassettes of five tape-recorded interviews (June - August 1996) used to support the historical and cultural role the Citrus Park Colored School played in the community are missing.","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 consists of research materials used by the Historic Tampa-Hillsborough County Preservation Board to designate the Citrus Park Colored School as an historic landmark.","USF Libraries - Tampa Special Collections","Historic Tampa-Hillsborough County Preservation Board","Citrus Park Colored School (Citrus Park, Fla.)","Mohlman, Geoffrey","English"],"unitid_tesim":["MS-1996-03","/repositories/2/resources/468"],"normalized_date_ssm":["1921-1996, 1996-11-20"],"normalized_title_ssm":["Citrus Park Colored School collection, 1921-1996, 1996-11-20"],"collection_title_tesim":["Citrus Park Colored School collection, 1921-1996, 1996-11-20"],"collection_ssim":["Citrus Park Colored School collection, 1921-1996, 1996-11-20"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"geogname_ssm":["Citrus Park (Fla.) -- History -- 20th Century."],"geogname_ssim":["Citrus Park (Fla.) -- History -- 20th Century."],"creator_ssm":["Historic Tampa-Hillsborough County Preservation Board","Historic Tampa-Hillsborough County Preservation Board","Mohlman, Geoffrey"],"creator_ssim":["Historic Tampa-Hillsborough County Preservation Board","Historic Tampa-Hillsborough County Preservation Board","Mohlman, Geoffrey"],"creator_persname_ssim":["Mohlman, Geoffrey"],"creator_corpname_ssim":["Historic Tampa-Hillsborough County Preservation Board","Historic Tampa-Hillsborough County Preservation Board"],"creators_ssim":["Mohlman, Geoffrey","Historic Tampa-Hillsborough County Preservation Board","Historic Tampa-Hillsborough County Preservation Board"],"places_ssim":["Citrus Park (Fla.) -- History -- 20th Century."],"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":["Historic Tampa-Hillsborough County Preservation Board","Donation"],"access_subjects_ssim":["African Americans -- Education -- Florida -- Citrus Park","African Americans -- Education","Schools -- Florida -- Hillsborough County"],"access_subjects_ssm":["African Americans -- Education -- Florida -- Citrus Park","African Americans -- Education","Schools -- Florida -- Hillsborough County"],"has_online_content_ssim":["false"],"extent_ssm":["0.21 Linear Feet","2  boxes"],"extent_tesim":["0.21 Linear Feet","2  boxes"],"date_range_isim":[1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996],"accruals_html_tesm":["\u003cp\u003eAdditional documents donated by Geoffrey Mohlman in September 2000.\u003c/p\u003e"],"accruals_heading_ssm":["Accruals and Additions"],"accruals_tesim":["Additional documents donated by Geoffrey Mohlman in September 2000."],"arrangement_html_tesm":["\u003cp\u003eSeries\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["Series"],"bioghist_html_tesm":["\u003cp\u003eCitrus Park Colored School, built in 1924 on Gunn Highway in Citrus Park, FL was a one-room school house used by the area's African American community. Before closing in 1948, the school building also was used for church meetings and other community activities. In 1949, trustees of the Mt. Pleasant AME Church bought the building and held services there until the 1950s. In 1996, the Citrus Park Colored School, which was known as the Amanda James Fellowship Building, was designated a Hillsborough County Landmark.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["Citrus Park Colored School, built in 1924 on Gunn Highway in Citrus Park, FL was a one-room school house used by the area's African American community. Before closing in 1948, the school building also was used for church meetings and other community activities. In 1949, trustees of the Mt. Pleasant AME Church bought the building and held services there until the 1950s. In 1996, the Citrus Park Colored School, which was known as the Amanda James Fellowship Building, was designated a Hillsborough County Landmark."],"odd_html_tesm":["\u003cp\u003epublished\u003c/p\u003e"],"odd_heading_ssm":["Other Descriptive Information"],"odd_tesim":["published"],"prefercite_html_tesm":["\u003cp\u003eCitrus Park Colored School collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"prefercite_tesim":["Citrus Park Colored School collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"processinfo_html_tesm":["\u003cp\u003eComplete\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Complete"],"relatedmaterial_html_tesm":["\u003cp\u003eHistoric Tampa-Hillsborough County Preservation Board Collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Historic Tampa-Hillsborough County Preservation Board Collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"scopecontent_html_tesm":["\u003cp\u003eThe collection includes drafts of the designation report, correspondence, school rosters, deeds, minutes, photographs, and maps of the Citrus Park area.\u0026#xA0; Many of the items are photocopies. Eight audiocassettes of five tape-recorded interviews (June - August 1996) used to support the historical and cultural role the Citrus Park Colored School played in the community are missing.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The collection includes drafts of the designation report, correspondence, school rosters, deeds, minutes, photographs, and maps of the Citrus Park area.  Many of the items are photocopies. Eight audiocassettes of five tape-recorded interviews (June - August 1996) used to support the historical and cultural role the Citrus Park Colored School played in the community are missing."],"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."],"abstract_html_tesm":["\u003cabstract id=\"aspace_8cca7bf8998605ce0aade733ac0fb40d\" label=\"Abstract\"\u003eCollection consists of research materials used by the Historic Tampa-Hillsborough County Preservation Board to designate the Citrus Park Colored School as an historic landmark.\u003c/abstract\u003e"],"abstract_tesim":["Collection consists of research materials used by the Historic Tampa-Hillsborough County Preservation Board to designate the Citrus Park Colored School as an historic landmark."],"names_coll_ssim":["Citrus Park Colored School (Citrus Park, Fla.)","Citrus Park Colored School (Citrus Park, Fla.)","Historic Tampa-Hillsborough County Preservation Board","Mohlman, Geoffrey"],"names_ssim":["USF Libraries - Tampa Special Collections","Historic Tampa-Hillsborough County Preservation Board","Citrus Park Colored School (Citrus Park, Fla.)","Mohlman, Geoffrey"],"corpname_ssim":["USF Libraries - Tampa Special Collections","Historic Tampa-Hillsborough County Preservation Board","Citrus Park Colored School (Citrus Park, Fla.)"],"persname_ssim":["Mohlman, Geoffrey"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":31,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870863131977187328,"_root_":"792b05f55d172a62ab9f2a96","timestamp":"2026-07-16T09:28:38.477Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/792b05f55d172a62ab9f2a96"}},{"id":"2d044bb929e2300f4d627e09","type":"collection","attributes":{"title":"City of Brandon collection, 1848-2005","creator":{"id":"https://flvc.lyrasistechnology.org/catalog/2d044bb929e2300f4d627e09#creator","type":"document_value","attributes":{"value":["Greater Brandon Chamber of Commerce"],"label":"Creator"}},"abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/2d044bb929e2300f4d627e09#abstract_or_scope","type":"document_value","attributes":{"value":["This collection contains materials related to the incorporation efforts and preservation of history of the city of Brandon, Florida. The materials primarily comprise of documents and photographs from the late nineteenth century to the early twenty-first century."],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/2d044bb929e2300f4d627e09#breadcrumbs","type":"document_value","attributes":{"value":[{"id":"2d044bb929e2300f4d627e09","title_ssm":["City of Brandon collection"],"title_tesim":["City of Brandon collection"],"ead_ssi":"2d044bb929e2300f4d627e09","unitdate_ssm":["1848-2005"],"unitdate_inclusive_ssm":["1848-2005"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS.2026.09","/repositories/2/resources/778"],"text":["MS.2026.09","/repositories/2/resources/778","City of Brandon collection, 1848-2005","Brandon (Fla.)","Florida -- History","Florida -- History -- 19th century","Florida -- History -- 20th Century.","Florida -- History, Local","Schools -- Florida -- Hillsborough County","None.","The collection is arranged by subjects, alphabetically.","Brandon, Florida was founded after John William Brandon arrived with his family and seven enslaved people in 1857 to the community then known as New Hope. Brandon would go on to donate land for the local Methodist Church and cemetary before his death in 1886. After the completion of a railroad line which connected New Hope to Plant City and Tampa, the community's population grew, and Victoria Brandon, John Brandon's widow, contracted a surveyor to plat around forty acres of land near the new railway. In 1890, the surveyor named the new area for Brandon. By 1920, Brandon's population was nearly 500, and the expansion of today's State Road 60 in the 1950s led to a population boom of around 5000. The area has continued to grow and as of 2020, the population has grown to 114,626.","Sources:\nBrandon (New Hope) Buckhorn Creek, HILLSBOROUGH COUNTY HISTORIC RESOURCES SURVEY REPORT. 1998, https://hillsborough.wateratlas.usf.edu/upload/documents/HILLSBOROUGH_COUNTY_Historic_Resources_Excerpts_Brandon.pdf. Accessed 2 Sept. 2026.\n\"QuickFacts: Brandon CDP, Florida.\" Census Bureau QuickFacts, United States Census Bureau, 2025, https://www.census.gov/quickfacts/fact/table/brandoncdpflorida/PST045225. Accessed 2 Sept. 2026.","This collection consists of documents from the Brandon Chamber of Commerce, reports related to the incorporation and historical preservation efforts of the city of Brandon, reports on the history of Brandon and Hillsborough County schools, materials related to the \"Our Town Histories\" project, and contemporary and historic photographs of people and places from Brandon. The majority of these materials were created in the late twentieth and early twenty-first centuries, although some photographs are from as early as the 1890s.","None. The contents of this collection may be subject to copyright. Visit the United States Copyright Office's website at http://www.copyright.gov/ for more information","This collection contains materials related to the incorporation efforts and preservation of history of the city of Brandon, Florida. The materials primarily comprise of documents and photographs from the late nineteenth century to the early twenty-first century.","USF Libraries - Tampa Special Collections","Greater Brandon Chamber of Commerce","English"],"unitid_tesim":["MS.2026.09","/repositories/2/resources/778"],"normalized_date_ssm":["1848-2005"],"normalized_title_ssm":["City of Brandon collection, 1848-2005"],"collection_title_tesim":["City of Brandon collection, 1848-2005"],"collection_ssim":["City of Brandon collection, 1848-2005"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"geogname_ssm":["Brandon (Fla.)","Florida -- History","Florida -- History -- 19th century","Florida -- History -- 20th Century."],"geogname_ssim":["Brandon (Fla.)","Florida -- History","Florida -- History -- 19th century","Florida -- History -- 20th Century."],"creator_ssm":["Greater Brandon Chamber of Commerce"],"creator_ssim":["Greater Brandon Chamber of Commerce"],"creator_corpname_ssim":["Greater Brandon Chamber of Commerce"],"creators_ssim":["Greater Brandon Chamber of Commerce"],"places_ssim":["Brandon (Fla.)","Florida -- History","Florida -- History -- 19th century","Florida -- History -- 20th Century."],"access_terms_ssm":["None. The contents of this collection may be subject to copyright. Visit the United States Copyright Office's website at http://www.copyright.gov/ for more information"],"acqinfo_ssim":["Unknown."],"access_subjects_ssim":["Florida -- History, Local","Schools -- Florida -- Hillsborough County"],"access_subjects_ssm":["Florida -- History, Local","Schools -- Florida -- Hillsborough County"],"has_online_content_ssim":["false"],"extent_ssm":["0.42 Linear Feet","1 boxes 1 Hollinger box"],"extent_tesim":["0.42 Linear Feet","1 boxes 1 Hollinger box"],"date_range_isim":[1848,1849,1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005],"accessrestrict_html_tesm":["\u003cp\u003eNone.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["None."],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged by subjects, alphabetically.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is arranged by subjects, alphabetically."],"bioghist_html_tesm":["\u003cp\u003eBrandon, Florida was founded after John William Brandon arrived with his family and seven enslaved people in 1857 to the community then known as New Hope. Brandon would go on to donate land for the local Methodist Church and cemetary before his death in 1886. After the completion of a railroad line which connected New Hope to Plant City and Tampa, the community's population grew, and Victoria Brandon, John Brandon's widow, contracted a surveyor to plat around forty acres of land near the new railway. In 1890, the surveyor named the new area for Brandon. By 1920, Brandon's population was nearly 500, and the expansion of today's State Road 60 in the 1950s led to a population boom of around 5000. The area has continued to grow and as of 2020, the population has grown to 114,626.\u003c/p\u003e\n","\u003cp\u003eSources:\nBrandon (New Hope) Buckhorn Creek, HILLSBOROUGH COUNTY HISTORIC RESOURCES SURVEY REPORT. 1998, https://hillsborough.wateratlas.usf.edu/upload/documents/HILLSBOROUGH_COUNTY_Historic_Resources_Excerpts_Brandon.pdf. Accessed 2 Sept. 2026.\n\"QuickFacts: Brandon CDP, Florida.\" Census Bureau QuickFacts, United States Census Bureau, 2025, https://www.census.gov/quickfacts/fact/table/brandoncdpflorida/PST045225. Accessed 2 Sept. 2026.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Brandon, Florida was founded after John William Brandon arrived with his family and seven enslaved people in 1857 to the community then known as New Hope. Brandon would go on to donate land for the local Methodist Church and cemetary before his death in 1886. After the completion of a railroad line which connected New Hope to Plant City and Tampa, the community's population grew, and Victoria Brandon, John Brandon's widow, contracted a surveyor to plat around forty acres of land near the new railway. In 1890, the surveyor named the new area for Brandon. By 1920, Brandon's population was nearly 500, and the expansion of today's State Road 60 in the 1950s led to a population boom of around 5000. The area has continued to grow and as of 2020, the population has grown to 114,626.","Sources:\nBrandon (New Hope) Buckhorn Creek, HILLSBOROUGH COUNTY HISTORIC RESOURCES SURVEY REPORT. 1998, https://hillsborough.wateratlas.usf.edu/upload/documents/HILLSBOROUGH_COUNTY_Historic_Resources_Excerpts_Brandon.pdf. Accessed 2 Sept. 2026.\n\"QuickFacts: Brandon CDP, Florida.\" Census Bureau QuickFacts, United States Census Bureau, 2025, https://www.census.gov/quickfacts/fact/table/brandoncdpflorida/PST045225. Accessed 2 Sept. 2026."],"prefercite_html_tesm":["\u003cp\u003eBrandon City collection, USF Libraries \u0026#x2013; Tampa Special Collections, University of South Florida, Tampa, FL\u003c/p\u003e"],"prefercite_tesim":["Brandon City collection, USF Libraries – Tampa Special Collections, University of South Florida, Tampa, FL"],"scopecontent_html_tesm":["\u003cp\u003eThis collection consists of documents from the Brandon Chamber of Commerce, reports related to the incorporation and historical preservation efforts of the city of Brandon, reports on the history of Brandon and Hillsborough County schools, materials related to the \"Our Town Histories\" project, and contemporary and historic photographs of people and places from Brandon. The majority of these materials were created in the late twentieth and early twenty-first centuries, although some photographs are from as early as the 1890s.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection consists of documents from the Brandon Chamber of Commerce, reports related to the incorporation and historical preservation efforts of the city of Brandon, reports on the history of Brandon and Hillsborough County schools, materials related to the \"Our Town Histories\" project, and contemporary and historic photographs of people and places from Brandon. The majority of these materials were created in the late twentieth and early twenty-first centuries, although some photographs are from as early as the 1890s."],"userestrict_html_tesm":["\u003cp\u003eNone. The contents of this 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 this 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_e1f148e713629edb83c8cfdc9b2344e5\"\u003eThis collection contains materials related to the incorporation efforts and preservation of history of the city of Brandon, Florida. The materials primarily comprise of documents and photographs from the late nineteenth century to the early twenty-first century.\u003c/abstract\u003e"],"abstract_tesim":["This collection contains materials related to the incorporation efforts and preservation of history of the city of Brandon, Florida. The materials primarily comprise of documents and photographs from the late nineteenth century to the early twenty-first century."],"names_ssim":["USF Libraries - Tampa Special Collections","Greater Brandon Chamber of Commerce"],"corpname_ssim":["USF Libraries - Tampa Special Collections","Greater Brandon Chamber of Commerce"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":14,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1876388803887759360,"_root_":"2d044bb929e2300f4d627e09","timestamp":"2026-09-15T09:16:49.860Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"2d044bb929e2300f4d627e09","title_ssm":["City of Brandon collection"],"title_tesim":["City of Brandon collection"],"ead_ssi":"2d044bb929e2300f4d627e09","unitdate_ssm":["1848-2005"],"unitdate_inclusive_ssm":["1848-2005"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS.2026.09","/repositories/2/resources/778"],"text":["MS.2026.09","/repositories/2/resources/778","City of Brandon collection, 1848-2005","Brandon (Fla.)","Florida -- History","Florida -- History -- 19th century","Florida -- History -- 20th Century.","Florida -- History, Local","Schools -- Florida -- Hillsborough County","None.","The collection is arranged by subjects, alphabetically.","Brandon, Florida was founded after John William Brandon arrived with his family and seven enslaved people in 1857 to the community then known as New Hope. Brandon would go on to donate land for the local Methodist Church and cemetary before his death in 1886. After the completion of a railroad line which connected New Hope to Plant City and Tampa, the community's population grew, and Victoria Brandon, John Brandon's widow, contracted a surveyor to plat around forty acres of land near the new railway. In 1890, the surveyor named the new area for Brandon. By 1920, Brandon's population was nearly 500, and the expansion of today's State Road 60 in the 1950s led to a population boom of around 5000. The area has continued to grow and as of 2020, the population has grown to 114,626.","Sources:\nBrandon (New Hope) Buckhorn Creek, HILLSBOROUGH COUNTY HISTORIC RESOURCES SURVEY REPORT. 1998, https://hillsborough.wateratlas.usf.edu/upload/documents/HILLSBOROUGH_COUNTY_Historic_Resources_Excerpts_Brandon.pdf. Accessed 2 Sept. 2026.\n\"QuickFacts: Brandon CDP, Florida.\" Census Bureau QuickFacts, United States Census Bureau, 2025, https://www.census.gov/quickfacts/fact/table/brandoncdpflorida/PST045225. Accessed 2 Sept. 2026.","This collection consists of documents from the Brandon Chamber of Commerce, reports related to the incorporation and historical preservation efforts of the city of Brandon, reports on the history of Brandon and Hillsborough County schools, materials related to the \"Our Town Histories\" project, and contemporary and historic photographs of people and places from Brandon. The majority of these materials were created in the late twentieth and early twenty-first centuries, although some photographs are from as early as the 1890s.","None. The contents of this collection may be subject to copyright. Visit the United States Copyright Office's website at http://www.copyright.gov/ for more information","This collection contains materials related to the incorporation efforts and preservation of history of the city of Brandon, Florida. The materials primarily comprise of documents and photographs from the late nineteenth century to the early twenty-first century.","USF Libraries - Tampa Special Collections","Greater Brandon Chamber of Commerce","English"],"unitid_tesim":["MS.2026.09","/repositories/2/resources/778"],"normalized_date_ssm":["1848-2005"],"normalized_title_ssm":["City of Brandon collection, 1848-2005"],"collection_title_tesim":["City of Brandon collection, 1848-2005"],"collection_ssim":["City of Brandon collection, 1848-2005"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"geogname_ssm":["Brandon (Fla.)","Florida -- History","Florida -- History -- 19th century","Florida -- History -- 20th Century."],"geogname_ssim":["Brandon (Fla.)","Florida -- History","Florida -- History -- 19th century","Florida -- History -- 20th Century."],"creator_ssm":["Greater Brandon Chamber of Commerce"],"creator_ssim":["Greater Brandon Chamber of Commerce"],"creator_corpname_ssim":["Greater Brandon Chamber of Commerce"],"creators_ssim":["Greater Brandon Chamber of Commerce"],"places_ssim":["Brandon (Fla.)","Florida -- History","Florida -- History -- 19th century","Florida -- History -- 20th Century."],"access_terms_ssm":["None. The contents of this collection may be subject to copyright. Visit the United States Copyright Office's website at http://www.copyright.gov/ for more information"],"acqinfo_ssim":["Unknown."],"access_subjects_ssim":["Florida -- History, Local","Schools -- Florida -- Hillsborough County"],"access_subjects_ssm":["Florida -- History, Local","Schools -- Florida -- Hillsborough County"],"has_online_content_ssim":["false"],"extent_ssm":["0.42 Linear Feet","1 boxes 1 Hollinger box"],"extent_tesim":["0.42 Linear Feet","1 boxes 1 Hollinger box"],"date_range_isim":[1848,1849,1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005],"accessrestrict_html_tesm":["\u003cp\u003eNone.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["None."],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged by subjects, alphabetically.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is arranged by subjects, alphabetically."],"bioghist_html_tesm":["\u003cp\u003eBrandon, Florida was founded after John William Brandon arrived with his family and seven enslaved people in 1857 to the community then known as New Hope. Brandon would go on to donate land for the local Methodist Church and cemetary before his death in 1886. After the completion of a railroad line which connected New Hope to Plant City and Tampa, the community's population grew, and Victoria Brandon, John Brandon's widow, contracted a surveyor to plat around forty acres of land near the new railway. In 1890, the surveyor named the new area for Brandon. By 1920, Brandon's population was nearly 500, and the expansion of today's State Road 60 in the 1950s led to a population boom of around 5000. The area has continued to grow and as of 2020, the population has grown to 114,626.\u003c/p\u003e\n","\u003cp\u003eSources:\nBrandon (New Hope) Buckhorn Creek, HILLSBOROUGH COUNTY HISTORIC RESOURCES SURVEY REPORT. 1998, https://hillsborough.wateratlas.usf.edu/upload/documents/HILLSBOROUGH_COUNTY_Historic_Resources_Excerpts_Brandon.pdf. Accessed 2 Sept. 2026.\n\"QuickFacts: Brandon CDP, Florida.\" Census Bureau QuickFacts, United States Census Bureau, 2025, https://www.census.gov/quickfacts/fact/table/brandoncdpflorida/PST045225. Accessed 2 Sept. 2026.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Brandon, Florida was founded after John William Brandon arrived with his family and seven enslaved people in 1857 to the community then known as New Hope. Brandon would go on to donate land for the local Methodist Church and cemetary before his death in 1886. After the completion of a railroad line which connected New Hope to Plant City and Tampa, the community's population grew, and Victoria Brandon, John Brandon's widow, contracted a surveyor to plat around forty acres of land near the new railway. In 1890, the surveyor named the new area for Brandon. By 1920, Brandon's population was nearly 500, and the expansion of today's State Road 60 in the 1950s led to a population boom of around 5000. The area has continued to grow and as of 2020, the population has grown to 114,626.","Sources:\nBrandon (New Hope) Buckhorn Creek, HILLSBOROUGH COUNTY HISTORIC RESOURCES SURVEY REPORT. 1998, https://hillsborough.wateratlas.usf.edu/upload/documents/HILLSBOROUGH_COUNTY_Historic_Resources_Excerpts_Brandon.pdf. Accessed 2 Sept. 2026.\n\"QuickFacts: Brandon CDP, Florida.\" Census Bureau QuickFacts, United States Census Bureau, 2025, https://www.census.gov/quickfacts/fact/table/brandoncdpflorida/PST045225. Accessed 2 Sept. 2026."],"prefercite_html_tesm":["\u003cp\u003eBrandon City collection, USF Libraries \u0026#x2013; Tampa Special Collections, University of South Florida, Tampa, FL\u003c/p\u003e"],"prefercite_tesim":["Brandon City collection, USF Libraries – Tampa Special Collections, University of South Florida, Tampa, FL"],"scopecontent_html_tesm":["\u003cp\u003eThis collection consists of documents from the Brandon Chamber of Commerce, reports related to the incorporation and historical preservation efforts of the city of Brandon, reports on the history of Brandon and Hillsborough County schools, materials related to the \"Our Town Histories\" project, and contemporary and historic photographs of people and places from Brandon. The majority of these materials were created in the late twentieth and early twenty-first centuries, although some photographs are from as early as the 1890s.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection consists of documents from the Brandon Chamber of Commerce, reports related to the incorporation and historical preservation efforts of the city of Brandon, reports on the history of Brandon and Hillsborough County schools, materials related to the \"Our Town Histories\" project, and contemporary and historic photographs of people and places from Brandon. The majority of these materials were created in the late twentieth and early twenty-first centuries, although some photographs are from as early as the 1890s."],"userestrict_html_tesm":["\u003cp\u003eNone. The contents of this 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 this 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_e1f148e713629edb83c8cfdc9b2344e5\"\u003eThis collection contains materials related to the incorporation efforts and preservation of history of the city of Brandon, Florida. The materials primarily comprise of documents and photographs from the late nineteenth century to the early twenty-first century.\u003c/abstract\u003e"],"abstract_tesim":["This collection contains materials related to the incorporation efforts and preservation of history of the city of Brandon, Florida. The materials primarily comprise of documents and photographs from the late nineteenth century to the early twenty-first century."],"names_ssim":["USF Libraries - Tampa Special Collections","Greater Brandon Chamber of Commerce"],"corpname_ssim":["USF Libraries - Tampa Special Collections","Greater Brandon Chamber of Commerce"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":14,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1876388803887759360,"_root_":"2d044bb929e2300f4d627e09","timestamp":"2026-09-15T09:16:49.860Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/2d044bb929e2300f4d627e09"}},{"id":"4ecda0709189a1ef8ee3f62e","type":"collection","attributes":{"title":"Civil Rights Papers of Cody Fowler and Steven Lawson, 1888-1974, bulk 1960-1974","creator":{"id":"https://flvc.lyrasistechnology.org/catalog/4ecda0709189a1ef8ee3f62e#creator","type":"document_value","attributes":{"value":["Fowler, Cody, 1892-1978"],"label":"Creator"}},"abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/4ecda0709189a1ef8ee3f62e#abstract_or_scope","type":"document_value","attributes":{"value":["This collection contains materials separately created and collected by Cody Fowler and Steven Lawson. The materials have been combined into a single collection, and overlapping materials primarily document the civil rights of African American residents of Hillsborough County, FL. ***Note: Contact Special Collections regarding availability: spcinfo@usf.edu***"],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/4ecda0709189a1ef8ee3f62e#breadcrumbs","type":"document_value","attributes":{"value":[{"id":"4ecda0709189a1ef8ee3f62e","title_filing_ssi":"Civil Rights Papers of Cody Fowler and Steven Lawson","title_ssm":["Civil Rights Papers of Cody Fowler and Steven Lawson"],"title_tesim":["Civil Rights Papers of Cody Fowler and Steven Lawson"],"ead_ssi":"4ecda0709189a1ef8ee3f62e","unitdate_ssm":["1888-1974","1960-1974"],"unitdate_bulk_ssim":["1960-1974"],"unitdate_inclusive_ssm":["1888-1974"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["F26","/repositories/2/resources/573"],"text":["F26","/repositories/2/resources/573","Civil Rights Papers of Cody Fowler and Steven Lawson, 1888-1974, bulk 1960-1974","Tampa (Fla.) -- Race relations.","African Americans -- Civil rights -- Florida -- Tampa -- History","Arranged by series.","Born in Arlington, Tennessee, Cody Fowler arrived in Tampa, Florida in 1924 as a young lawyer eager to make a difference. Though work initially brought him to the city, his family also provided an incentive. His mother, Maud Fowler, was heavily involved in the development of Temple Terrace, serving as the city's mayor in 1926. Cody Fowler drafted the city's charter, served as its first attorney, and also served a term as mayor in 1928 – his only elected office. Fowler made a name for himself early in his career when he defended African American clients in Tampa's courts – something few other white lawyers were willing to do. Fowler worked in a number of law firms throughout the 1920s and '30s before joining with Morris White to form the Fowler and White firm. He rose through the ranks of leadership within local and regional bar associations, and in 1950, he was elected president of the American Bar Association – the first Tampa lawyer to attain that position. The following year, Tampa's Civitan Club named him as their Citizen of the Year, which is among the most prestigious honors awarded in Tampa. During the 1950s, Fowler was instrumental in eliminating the graft, corruption, and organized crime influence that had permeated Tampa's political system for generations. In 1959, Fowler was appointed chairman of both Florida's and Tampa's Bi-Racial Commissions. His calm approach to problems and his belief that integration was necessary for society to move forward, not to mention the potential economic benefits for the city, drove him to help solve the city's and state's race problems. His leadership, along with African American leaders, such as the Reverend A. Leon Lowry, helped guide the peaceful integration of Tampa's lunch counters in 1960. In a speech he gave to the Rotary Club of Tampa in July 1963, Fowler explained that \"economic upgrading,\" in the form of broader hiring practices among Tampa's businesses, was the core of solving local race relations issues. This cause would eventually be taken up by Tampa's Bi-Racial Committee. ","Fowler died at the age of 85, and at the time was still senior partner of the law firm he co-founded thirty-five years earlier. Newspapers across the state celebrated the life of the genteel southerner who did not hesitate to speak out against what he felt were unfair and illegal laws and traditions that plagued both the country and his adopted home.","Steven F. Lawson, former professor of History at the University of South Florida (1972-1992), compiled these materials as part of his research on the Civil Rights Movement and race relations in Tampa during the 1960s. The results of his research were published as \"From Sit-in to Race Riot: Businessmen, Blacks, and the Pursuit of Moderation in Tampa, 1960-1967,\" in  Southern Businessmen and Desegregation , 1982. ","Subsequent to their respective donations, the papers of Steven Lawson and Cody Fowler, which are closely related in subject, were merged into a single collection. Years later, rather than attempt to extricate one collection from the other, Dr. Lawson and archivist Andrew Huse agreed to change the collection's name and amend its documentation.","Selected information in Biog/Hist Note prepared by the Historical Monument Trail Selection Committee, Friends of the Riverwalk.","Progress Village records, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.","Many of the documents in this collection provide insight into Cody Fowler's role in Tampa's desegregation. A large portion of the documents are correspondences between committee members of the Tampa Bi-Racial Committee, the Commission of Community Relations, and community officials. The collection also contains a large number of reports on African Americans, their lack of employment opportunities, and educational concerns.","None.  The contents of this collection may be subject to copyright.  Visit the United States Copyright Office's website at http://www.copyright.gov/ for more information.","This collection contains materials separately created and collected by Cody Fowler and Steven Lawson. The materials have been combined into a single collection, and overlapping materials primarily document the civil rights of African American residents of Hillsborough County, FL.  \n\n***Note: Contact Special Collections regarding availability: spcinfo@usf.edu***","USF Libraries - Tampa Special Collections","Fowler, Cody, 1892-1978","Lawson, Steven F. (1945-)","English"],"unitid_tesim":["F26","/repositories/2/resources/573"],"normalized_date_ssm":["1888-1974, bulk 1960-1974"],"normalized_title_ssm":["Civil Rights Papers of Cody Fowler and Steven Lawson, 1888-1974, bulk 1960-1974"],"collection_title_tesim":["Civil Rights Papers of Cody Fowler and Steven Lawson, 1888-1974, bulk 1960-1974"],"collection_ssim":["Civil Rights Papers of Cody Fowler and Steven Lawson, 1888-1974, bulk 1960-1974"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"geogname_ssm":["Tampa (Fla.) -- Race relations."],"geogname_ssim":["Tampa (Fla.) -- Race relations."],"creator_ssm":["Fowler, Cody, 1892-1978","Lawson, Steven F. (1945-)"],"creator_ssim":["Fowler, Cody, 1892-1978","Lawson, Steven F. (1945-)"],"creator_persname_ssim":["Fowler, Cody, 1892-1978","Lawson, Steven F. (1945-)"],"creators_ssim":["Fowler, Cody, 1892-1978","Lawson, Steven F. (1945-)"],"places_ssim":["Tampa (Fla.) -- Race relations."],"access_terms_ssm":["None.  The contents of this collection may be subject to copyright.  Visit the United States Copyright Office's website at http://www.copyright.gov/ for more information."],"acqinfo_ssim":["Steven Lawson","Cody Fowler","Donated in conjunction with the Progress Village records."],"access_subjects_ssim":["African Americans -- Civil rights -- Florida -- Tampa -- History"],"access_subjects_ssm":["African Americans -- Civil rights -- Florida -- Tampa -- History"],"has_online_content_ssim":["false"],"extent_ssm":["4.59 Linear Feet","10 boxes"],"extent_tesim":["4.59 Linear Feet","10 boxes"],"date_range_isim":[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],"arrangement_html_tesm":["\u003cp\u003eArranged by series.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["Arranged by series."],"bioghist_html_tesm":["\u003cp\u003eBorn in Arlington, Tennessee, Cody Fowler arrived in Tampa, Florida in 1924 as a young lawyer eager to make a difference. Though work initially brought him to the city, his family also provided an incentive. His mother, Maud Fowler, was heavily involved in the development of Temple Terrace, serving as the city's mayor in 1926. Cody Fowler drafted the city's charter, served as its first attorney, and also served a term as mayor in 1928 \u0026#x2013; his only elected office. Fowler made a name for himself early in his career when he defended African American clients in Tampa's courts \u0026#x2013; something few other white lawyers were willing to do. Fowler worked in a number of law firms throughout the 1920s and '30s before joining with Morris White to form the Fowler and White firm. He rose through the ranks of leadership within local and regional bar associations, and in 1950, he was elected president of the American Bar Association \u0026#x2013; the first Tampa lawyer to attain that position. The following year, Tampa's Civitan Club named him as their Citizen of the Year, which is among the most prestigious honors awarded in Tampa. During the 1950s, Fowler was instrumental in eliminating the graft, corruption, and organized crime influence that had permeated Tampa's political system for generations. In 1959, Fowler was appointed chairman of both Florida's and Tampa's Bi-Racial Commissions. His calm approach to problems and his belief that integration was necessary for society to move forward, not to mention the potential economic benefits for the city, drove him to help solve the city's and state's race problems. His leadership, along with African American leaders, such as the Reverend A. Leon Lowry, helped guide the peaceful integration of Tampa's lunch counters in 1960. In a speech he gave to the Rotary Club of Tampa in July 1963, Fowler explained that \"economic upgrading,\" in the form of broader hiring practices among Tampa's businesses, was the core of solving local race relations issues. This cause would eventually be taken up by Tampa's Bi-Racial Committee. \u003c/p\u003e\n","\u003cp\u003eFowler died at the age of 85, and at the time was still senior partner of the law firm he co-founded thirty-five years earlier. Newspapers across the state celebrated the life of the genteel southerner who did not hesitate to speak out against what he felt were unfair and illegal laws and traditions that plagued both the country and his adopted home.\u003c/p\u003e\n","\u003cp\u003eSteven F. Lawson, former professor of History at the University of South Florida (1972-1992), compiled these materials as part of his research on the Civil Rights Movement and race relations in Tampa during the 1960s. The results of his research were published as \"From Sit-in to Race Riot: Businessmen, Blacks, and the Pursuit of Moderation in Tampa, 1960-1967,\" in \u003cemph render=\"italic\"\u003eSouthern Businessmen and Desegregation\u003c/emph\u003e, 1982. \u003c/p\u003e\n","\u003cp\u003eSubsequent to their respective donations, the papers of Steven Lawson and Cody Fowler, which are closely related in subject, were merged into a single collection. Years later, rather than attempt to extricate one collection from the other, Dr. Lawson and archivist Andrew Huse agreed to change the collection's name and amend its documentation.\u003c/p\u003e\n","\u003cp\u003eSelected information in Biog/Hist Note prepared by the Historical Monument Trail Selection Committee,\u0026#xA0;Friends of the Riverwalk.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["Born in Arlington, Tennessee, Cody Fowler arrived in Tampa, Florida in 1924 as a young lawyer eager to make a difference. Though work initially brought him to the city, his family also provided an incentive. His mother, Maud Fowler, was heavily involved in the development of Temple Terrace, serving as the city's mayor in 1926. Cody Fowler drafted the city's charter, served as its first attorney, and also served a term as mayor in 1928 – his only elected office. Fowler made a name for himself early in his career when he defended African American clients in Tampa's courts – something few other white lawyers were willing to do. Fowler worked in a number of law firms throughout the 1920s and '30s before joining with Morris White to form the Fowler and White firm. He rose through the ranks of leadership within local and regional bar associations, and in 1950, he was elected president of the American Bar Association – the first Tampa lawyer to attain that position. The following year, Tampa's Civitan Club named him as their Citizen of the Year, which is among the most prestigious honors awarded in Tampa. During the 1950s, Fowler was instrumental in eliminating the graft, corruption, and organized crime influence that had permeated Tampa's political system for generations. In 1959, Fowler was appointed chairman of both Florida's and Tampa's Bi-Racial Commissions. His calm approach to problems and his belief that integration was necessary for society to move forward, not to mention the potential economic benefits for the city, drove him to help solve the city's and state's race problems. His leadership, along with African American leaders, such as the Reverend A. Leon Lowry, helped guide the peaceful integration of Tampa's lunch counters in 1960. In a speech he gave to the Rotary Club of Tampa in July 1963, Fowler explained that \"economic upgrading,\" in the form of broader hiring practices among Tampa's businesses, was the core of solving local race relations issues. This cause would eventually be taken up by Tampa's Bi-Racial Committee. ","Fowler died at the age of 85, and at the time was still senior partner of the law firm he co-founded thirty-five years earlier. Newspapers across the state celebrated the life of the genteel southerner who did not hesitate to speak out against what he felt were unfair and illegal laws and traditions that plagued both the country and his adopted home.","Steven F. Lawson, former professor of History at the University of South Florida (1972-1992), compiled these materials as part of his research on the Civil Rights Movement and race relations in Tampa during the 1960s. The results of his research were published as \"From Sit-in to Race Riot: Businessmen, Blacks, and the Pursuit of Moderation in Tampa, 1960-1967,\" in  Southern Businessmen and Desegregation , 1982. ","Subsequent to their respective donations, the papers of Steven Lawson and Cody Fowler, which are closely related in subject, were merged into a single collection. Years later, rather than attempt to extricate one collection from the other, Dr. Lawson and archivist Andrew Huse agreed to change the collection's name and amend its documentation.","Selected information in Biog/Hist Note prepared by the Historical Monument Trail Selection Committee, Friends of the Riverwalk."],"prefercite_html_tesm":["\u003cp\u003eThe civil rights papers of Cody Fowler and Steven Lawson, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"prefercite_tesim":["The civil rights papers of Cody Fowler and Steven Lawson, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"relatedmaterial_html_tesm":["\u003cp\u003eProgress Village records, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Progress Village records, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"scopecontent_html_tesm":["\u003cp\u003eMany of the documents in this collection provide insight into Cody Fowler's role in Tampa's desegregation. A large portion of the documents are correspondences between committee members of the Tampa Bi-Racial Committee, the Commission of Community Relations, and community officials. The collection also contains a large number of reports on African Americans, their lack of employment opportunities, and educational concerns.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Many of the documents in this collection provide insight into Cody Fowler's role in Tampa's desegregation. A large portion of the documents are correspondences between committee members of the Tampa Bi-Racial Committee, the Commission of Community Relations, and community officials. The collection also contains a large number of reports on African Americans, their lack of employment opportunities, and educational concerns."],"userestrict_html_tesm":["\u003cp\u003eNone.\u0026#xA0; The contents of this collection may be subject to copyright.\u0026#xA0; 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 this 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_3abe5c2d17e88edd0120ab3bf0662503\" label=\"Abstract\"\u003eThis collection contains materials separately created and collected by Cody Fowler and Steven Lawson. The materials have been combined into a single collection, and overlapping materials primarily document the civil rights of African American residents of Hillsborough County, FL.  \n\n***Note: Contact Special Collections regarding availability: spcinfo@usf.edu***\u003c/abstract\u003e"],"abstract_tesim":["This collection contains materials separately created and collected by Cody Fowler and Steven Lawson. The materials have been combined into a single collection, and overlapping materials primarily document the civil rights of African American residents of Hillsborough County, FL.  \n\n***Note: Contact Special Collections regarding availability: spcinfo@usf.edu***"],"names_ssim":["USF Libraries - Tampa Special Collections","Fowler, Cody, 1892-1978","Lawson, Steven F. (1945-)"],"corpname_ssim":["USF Libraries - Tampa Special Collections"],"persname_ssim":["Fowler, Cody, 1892-1978","Lawson, Steven F. (1945-)"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":96,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"4ecda0709189a1ef8ee3f62e","timestamp":"2026-05-27T03:16:31.366Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"4ecda0709189a1ef8ee3f62e","title_filing_ssi":"Civil Rights Papers of Cody Fowler and Steven Lawson","title_ssm":["Civil Rights Papers of Cody Fowler and Steven Lawson"],"title_tesim":["Civil Rights Papers of Cody Fowler and Steven Lawson"],"ead_ssi":"4ecda0709189a1ef8ee3f62e","unitdate_ssm":["1888-1974","1960-1974"],"unitdate_bulk_ssim":["1960-1974"],"unitdate_inclusive_ssm":["1888-1974"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["F26","/repositories/2/resources/573"],"text":["F26","/repositories/2/resources/573","Civil Rights Papers of Cody Fowler and Steven Lawson, 1888-1974, bulk 1960-1974","Tampa (Fla.) -- Race relations.","African Americans -- Civil rights -- Florida -- Tampa -- History","Arranged by series.","Born in Arlington, Tennessee, Cody Fowler arrived in Tampa, Florida in 1924 as a young lawyer eager to make a difference. Though work initially brought him to the city, his family also provided an incentive. His mother, Maud Fowler, was heavily involved in the development of Temple Terrace, serving as the city's mayor in 1926. Cody Fowler drafted the city's charter, served as its first attorney, and also served a term as mayor in 1928 – his only elected office. Fowler made a name for himself early in his career when he defended African American clients in Tampa's courts – something few other white lawyers were willing to do. Fowler worked in a number of law firms throughout the 1920s and '30s before joining with Morris White to form the Fowler and White firm. He rose through the ranks of leadership within local and regional bar associations, and in 1950, he was elected president of the American Bar Association – the first Tampa lawyer to attain that position. The following year, Tampa's Civitan Club named him as their Citizen of the Year, which is among the most prestigious honors awarded in Tampa. During the 1950s, Fowler was instrumental in eliminating the graft, corruption, and organized crime influence that had permeated Tampa's political system for generations. In 1959, Fowler was appointed chairman of both Florida's and Tampa's Bi-Racial Commissions. His calm approach to problems and his belief that integration was necessary for society to move forward, not to mention the potential economic benefits for the city, drove him to help solve the city's and state's race problems. His leadership, along with African American leaders, such as the Reverend A. Leon Lowry, helped guide the peaceful integration of Tampa's lunch counters in 1960. In a speech he gave to the Rotary Club of Tampa in July 1963, Fowler explained that \"economic upgrading,\" in the form of broader hiring practices among Tampa's businesses, was the core of solving local race relations issues. This cause would eventually be taken up by Tampa's Bi-Racial Committee. ","Fowler died at the age of 85, and at the time was still senior partner of the law firm he co-founded thirty-five years earlier. Newspapers across the state celebrated the life of the genteel southerner who did not hesitate to speak out against what he felt were unfair and illegal laws and traditions that plagued both the country and his adopted home.","Steven F. Lawson, former professor of History at the University of South Florida (1972-1992), compiled these materials as part of his research on the Civil Rights Movement and race relations in Tampa during the 1960s. The results of his research were published as \"From Sit-in to Race Riot: Businessmen, Blacks, and the Pursuit of Moderation in Tampa, 1960-1967,\" in  Southern Businessmen and Desegregation , 1982. ","Subsequent to their respective donations, the papers of Steven Lawson and Cody Fowler, which are closely related in subject, were merged into a single collection. Years later, rather than attempt to extricate one collection from the other, Dr. Lawson and archivist Andrew Huse agreed to change the collection's name and amend its documentation.","Selected information in Biog/Hist Note prepared by the Historical Monument Trail Selection Committee, Friends of the Riverwalk.","Progress Village records, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.","Many of the documents in this collection provide insight into Cody Fowler's role in Tampa's desegregation. A large portion of the documents are correspondences between committee members of the Tampa Bi-Racial Committee, the Commission of Community Relations, and community officials. The collection also contains a large number of reports on African Americans, their lack of employment opportunities, and educational concerns.","None.  The contents of this collection may be subject to copyright.  Visit the United States Copyright Office's website at http://www.copyright.gov/ for more information.","This collection contains materials separately created and collected by Cody Fowler and Steven Lawson. The materials have been combined into a single collection, and overlapping materials primarily document the civil rights of African American residents of Hillsborough County, FL.  \n\n***Note: Contact Special Collections regarding availability: spcinfo@usf.edu***","USF Libraries - Tampa Special Collections","Fowler, Cody, 1892-1978","Lawson, Steven F. 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(1945-)"],"places_ssim":["Tampa (Fla.) -- Race relations."],"access_terms_ssm":["None.  The contents of this collection may be subject to copyright.  Visit the United States Copyright Office's website at http://www.copyright.gov/ for more information."],"acqinfo_ssim":["Steven Lawson","Cody Fowler","Donated in conjunction with the Progress Village records."],"access_subjects_ssim":["African Americans -- Civil rights -- Florida -- Tampa -- History"],"access_subjects_ssm":["African Americans -- Civil rights -- Florida -- Tampa -- History"],"has_online_content_ssim":["false"],"extent_ssm":["4.59 Linear Feet","10 boxes"],"extent_tesim":["4.59 Linear Feet","10 boxes"],"date_range_isim":[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],"arrangement_html_tesm":["\u003cp\u003eArranged by series.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["Arranged by series."],"bioghist_html_tesm":["\u003cp\u003eBorn in Arlington, Tennessee, Cody Fowler arrived in Tampa, Florida in 1924 as a young lawyer eager to make a difference. Though work initially brought him to the city, his family also provided an incentive. His mother, Maud Fowler, was heavily involved in the development of Temple Terrace, serving as the city's mayor in 1926. Cody Fowler drafted the city's charter, served as its first attorney, and also served a term as mayor in 1928 \u0026#x2013; his only elected office. Fowler made a name for himself early in his career when he defended African American clients in Tampa's courts \u0026#x2013; something few other white lawyers were willing to do. Fowler worked in a number of law firms throughout the 1920s and '30s before joining with Morris White to form the Fowler and White firm. He rose through the ranks of leadership within local and regional bar associations, and in 1950, he was elected president of the American Bar Association \u0026#x2013; the first Tampa lawyer to attain that position. The following year, Tampa's Civitan Club named him as their Citizen of the Year, which is among the most prestigious honors awarded in Tampa. During the 1950s, Fowler was instrumental in eliminating the graft, corruption, and organized crime influence that had permeated Tampa's political system for generations. In 1959, Fowler was appointed chairman of both Florida's and Tampa's Bi-Racial Commissions. His calm approach to problems and his belief that integration was necessary for society to move forward, not to mention the potential economic benefits for the city, drove him to help solve the city's and state's race problems. His leadership, along with African American leaders, such as the Reverend A. Leon Lowry, helped guide the peaceful integration of Tampa's lunch counters in 1960. In a speech he gave to the Rotary Club of Tampa in July 1963, Fowler explained that \"economic upgrading,\" in the form of broader hiring practices among Tampa's businesses, was the core of solving local race relations issues. This cause would eventually be taken up by Tampa's Bi-Racial Committee. \u003c/p\u003e\n","\u003cp\u003eFowler died at the age of 85, and at the time was still senior partner of the law firm he co-founded thirty-five years earlier. Newspapers across the state celebrated the life of the genteel southerner who did not hesitate to speak out against what he felt were unfair and illegal laws and traditions that plagued both the country and his adopted home.\u003c/p\u003e\n","\u003cp\u003eSteven F. Lawson, former professor of History at the University of South Florida (1972-1992), compiled these materials as part of his research on the Civil Rights Movement and race relations in Tampa during the 1960s. The results of his research were published as \"From Sit-in to Race Riot: Businessmen, Blacks, and the Pursuit of Moderation in Tampa, 1960-1967,\" in \u003cemph render=\"italic\"\u003eSouthern Businessmen and Desegregation\u003c/emph\u003e, 1982. \u003c/p\u003e\n","\u003cp\u003eSubsequent to their respective donations, the papers of Steven Lawson and Cody Fowler, which are closely related in subject, were merged into a single collection. Years later, rather than attempt to extricate one collection from the other, Dr. Lawson and archivist Andrew Huse agreed to change the collection's name and amend its documentation.\u003c/p\u003e\n","\u003cp\u003eSelected information in Biog/Hist Note prepared by the Historical Monument Trail Selection Committee,\u0026#xA0;Friends of the Riverwalk.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["Born in Arlington, Tennessee, Cody Fowler arrived in Tampa, Florida in 1924 as a young lawyer eager to make a difference. Though work initially brought him to the city, his family also provided an incentive. His mother, Maud Fowler, was heavily involved in the development of Temple Terrace, serving as the city's mayor in 1926. Cody Fowler drafted the city's charter, served as its first attorney, and also served a term as mayor in 1928 – his only elected office. Fowler made a name for himself early in his career when he defended African American clients in Tampa's courts – something few other white lawyers were willing to do. Fowler worked in a number of law firms throughout the 1920s and '30s before joining with Morris White to form the Fowler and White firm. He rose through the ranks of leadership within local and regional bar associations, and in 1950, he was elected president of the American Bar Association – the first Tampa lawyer to attain that position. The following year, Tampa's Civitan Club named him as their Citizen of the Year, which is among the most prestigious honors awarded in Tampa. During the 1950s, Fowler was instrumental in eliminating the graft, corruption, and organized crime influence that had permeated Tampa's political system for generations. In 1959, Fowler was appointed chairman of both Florida's and Tampa's Bi-Racial Commissions. His calm approach to problems and his belief that integration was necessary for society to move forward, not to mention the potential economic benefits for the city, drove him to help solve the city's and state's race problems. His leadership, along with African American leaders, such as the Reverend A. Leon Lowry, helped guide the peaceful integration of Tampa's lunch counters in 1960. In a speech he gave to the Rotary Club of Tampa in July 1963, Fowler explained that \"economic upgrading,\" in the form of broader hiring practices among Tampa's businesses, was the core of solving local race relations issues. This cause would eventually be taken up by Tampa's Bi-Racial Committee. ","Fowler died at the age of 85, and at the time was still senior partner of the law firm he co-founded thirty-five years earlier. Newspapers across the state celebrated the life of the genteel southerner who did not hesitate to speak out against what he felt were unfair and illegal laws and traditions that plagued both the country and his adopted home.","Steven F. Lawson, former professor of History at the University of South Florida (1972-1992), compiled these materials as part of his research on the Civil Rights Movement and race relations in Tampa during the 1960s. The results of his research were published as \"From Sit-in to Race Riot: Businessmen, Blacks, and the Pursuit of Moderation in Tampa, 1960-1967,\" in  Southern Businessmen and Desegregation , 1982. ","Subsequent to their respective donations, the papers of Steven Lawson and Cody Fowler, which are closely related in subject, were merged into a single collection. Years later, rather than attempt to extricate one collection from the other, Dr. Lawson and archivist Andrew Huse agreed to change the collection's name and amend its documentation.","Selected information in Biog/Hist Note prepared by the Historical Monument Trail Selection Committee, Friends of the Riverwalk."],"prefercite_html_tesm":["\u003cp\u003eThe civil rights papers of Cody Fowler and Steven Lawson, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"prefercite_tesim":["The civil rights papers of Cody Fowler and Steven Lawson, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"relatedmaterial_html_tesm":["\u003cp\u003eProgress Village records, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Progress Village records, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"scopecontent_html_tesm":["\u003cp\u003eMany of the documents in this collection provide insight into Cody Fowler's role in Tampa's desegregation. A large portion of the documents are correspondences between committee members of the Tampa Bi-Racial Committee, the Commission of Community Relations, and community officials. The collection also contains a large number of reports on African Americans, their lack of employment opportunities, and educational concerns.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Many of the documents in this collection provide insight into Cody Fowler's role in Tampa's desegregation. A large portion of the documents are correspondences between committee members of the Tampa Bi-Racial Committee, the Commission of Community Relations, and community officials. The collection also contains a large number of reports on African Americans, their lack of employment opportunities, and educational concerns."],"userestrict_html_tesm":["\u003cp\u003eNone.\u0026#xA0; The contents of this collection may be subject to copyright.\u0026#xA0; 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 this 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_3abe5c2d17e88edd0120ab3bf0662503\" label=\"Abstract\"\u003eThis collection contains materials separately created and collected by Cody Fowler and Steven Lawson. The materials have been combined into a single collection, and overlapping materials primarily document the civil rights of African American residents of Hillsborough County, FL.  \n\n***Note: Contact Special Collections regarding availability: spcinfo@usf.edu***\u003c/abstract\u003e"],"abstract_tesim":["This collection contains materials separately created and collected by Cody Fowler and Steven Lawson. The materials have been combined into a single collection, and overlapping materials primarily document the civil rights of African American residents of Hillsborough County, FL.  \n\n***Note: Contact Special Collections regarding availability: spcinfo@usf.edu***"],"names_ssim":["USF Libraries - Tampa Special Collections","Fowler, Cody, 1892-1978","Lawson, Steven F. (1945-)"],"corpname_ssim":["USF Libraries - Tampa Special Collections"],"persname_ssim":["Fowler, Cody, 1892-1978","Lawson, Steven F. (1945-)"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":96,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"4ecda0709189a1ef8ee3f62e","timestamp":"2026-05-27T03:16:31.366Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/4ecda0709189a1ef8ee3f62e"}},{"id":"07cb385663b2b158c6c6a27c","type":"collection","attributes":{"title":"Clara Rider Hayden Papers, 1922-1939","creator":{"id":"https://flvc.lyrasistechnology.org/catalog/07cb385663b2b158c6c6a27c#creator","type":"document_value","attributes":{"value":["Hayden, Clara R. (Clara Rider)"],"label":"Creator"}},"abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/07cb385663b2b158c6c6a27c#abstract_or_scope","type":"document_value","attributes":{"value":["\u003cp\u003eTypescript drafts and publications by Clara Rider Hayden, including book reviews, articles, speeches, plays, and other works.\u003c/p\u003e"],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/07cb385663b2b158c6c6a27c#breadcrumbs","type":"document_value","attributes":{"value":[{"id":"07cb385663b2b158c6c6a27c","title_ssm":["Clara Rider Hayden Papers"],"title_tesim":["Clara Rider Hayden Papers"],"ead_ssi":"07cb385663b2b158c6c6a27c","unitdate_ssm":["1922-1939"],"unitdate_inclusive_ssm":["1922-1939"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS 1-06","/repositories/10/resources/87"],"text":["MSS 1-06","/repositories/10/resources/87","Clara Rider Hayden Papers, 1922-1939","Authors, American","Manuscripts","Plays.","This 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.","Processed March 1979.","File of biographical material noted as missing on May 8, 2017.","Typescript drafts and publications by Clara Rider Hayden, including book reviews, articles, speeches, plays, and other works.","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","Florida Flambeau","Hayden, Clara R. (Clara Rider)","English"],"unitid_tesim":["MSS 1-06","/repositories/10/resources/87"],"normalized_date_ssm":["1922-1939"],"normalized_title_ssm":["Clara Rider Hayden Papers, 1922-1939"],"collection_title_tesim":["Clara Rider Hayden Papers, 1922-1939"],"collection_ssim":["Clara Rider Hayden Papers, 1922-1939"],"repository_ssm":["FSU Special Collections \u0026 Archives"],"repository_ssim":["FSU Special Collections \u0026 Archives"],"creator_ssm":["Hayden, Clara R. (Clara Rider)"],"creator_ssim":["Hayden, Clara R. (Clara Rider)"],"creator_persname_ssim":["Hayden, Clara R. (Clara Rider)"],"creators_ssim":["Hayden, Clara R. (Clara Rider)"],"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":["Mrs. Hayden","Gift"],"access_subjects_ssim":["Authors, American","Manuscripts","Plays."],"access_subjects_ssm":["Authors, American","Manuscripts","Plays."],"has_online_content_ssim":["false"],"extent_ssm":["3.00 folders","25 items"],"extent_tesim":["3.00 folders","25 items"],"genreform_ssim":["Manuscripts","Plays."],"date_range_isim":[1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939],"accessrestrict_html_tesm":["\u003cp\u003eThis collection 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":["This 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."],"prefercite_html_tesm":["\u003cp\u003eClara Rider Hayden Papers, Special Collections \u0026amp; Archives, Florida State University Libraries, Tallahassee, Florida.\nhttps://purl.lib.fsu.edu/fa/MSS-1-06\u003c/p\u003e"],"prefercite_tesim":["Clara Rider Hayden Papers, Special Collections \u0026 Archives, Florida State University Libraries, Tallahassee, Florida.\nhttps://purl.lib.fsu.edu/fa/MSS-1-06"],"processinfo_html_tesm":["\u003cp\u003eProcessed March 1979.\u003c/p\u003e","\u003cp\u003eFile of biographical material noted as missing on May 8, 2017.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed March 1979.","File of biographical material noted as missing on May 8, 2017."],"scopecontent_html_tesm":["\u003cp\u003eTypescript drafts and publications by Clara Rider Hayden, including book reviews, articles, speeches, plays, and other works.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Typescript drafts and publications by Clara Rider Hayden, including book reviews, articles, speeches, plays, and other works."],"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_coll_ssim":["Florida Flambeau"],"names_ssim":["FSU Special Collections \u0026 Archives","Florida Flambeau","Hayden, Clara R. (Clara Rider)"],"corpname_ssim":["FSU Special Collections \u0026 Archives","Florida Flambeau"],"persname_ssim":["Hayden, Clara R. 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Please contact lib-specialcollections@fsu.edu with requests for access or for more information.","Processed March 1979.","File of biographical material noted as missing on May 8, 2017.","Typescript drafts and publications by Clara Rider Hayden, including book reviews, articles, speeches, plays, and other works.","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","Florida Flambeau","Hayden, Clara R. (Clara Rider)","English"],"unitid_tesim":["MSS 1-06","/repositories/10/resources/87"],"normalized_date_ssm":["1922-1939"],"normalized_title_ssm":["Clara Rider Hayden Papers, 1922-1939"],"collection_title_tesim":["Clara Rider Hayden Papers, 1922-1939"],"collection_ssim":["Clara Rider Hayden Papers, 1922-1939"],"repository_ssm":["FSU Special Collections \u0026 Archives"],"repository_ssim":["FSU Special Collections \u0026 Archives"],"creator_ssm":["Hayden, Clara R. (Clara Rider)"],"creator_ssim":["Hayden, Clara R. (Clara Rider)"],"creator_persname_ssim":["Hayden, Clara R. (Clara Rider)"],"creators_ssim":["Hayden, Clara R. (Clara Rider)"],"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":["Mrs. Hayden","Gift"],"access_subjects_ssim":["Authors, American","Manuscripts","Plays."],"access_subjects_ssm":["Authors, American","Manuscripts","Plays."],"has_online_content_ssim":["false"],"extent_ssm":["3.00 folders","25 items"],"extent_tesim":["3.00 folders","25 items"],"genreform_ssim":["Manuscripts","Plays."],"date_range_isim":[1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939],"accessrestrict_html_tesm":["\u003cp\u003eThis collection 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":["This 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."],"prefercite_html_tesm":["\u003cp\u003eClara Rider Hayden Papers, Special Collections \u0026amp; Archives, Florida State University Libraries, Tallahassee, Florida.\nhttps://purl.lib.fsu.edu/fa/MSS-1-06\u003c/p\u003e"],"prefercite_tesim":["Clara Rider Hayden Papers, Special Collections \u0026 Archives, Florida State University Libraries, Tallahassee, Florida.\nhttps://purl.lib.fsu.edu/fa/MSS-1-06"],"processinfo_html_tesm":["\u003cp\u003eProcessed March 1979.\u003c/p\u003e","\u003cp\u003eFile of biographical material noted as missing on May 8, 2017.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed March 1979.","File of biographical material noted as missing on May 8, 2017."],"scopecontent_html_tesm":["\u003cp\u003eTypescript drafts and publications by Clara Rider Hayden, including book reviews, articles, speeches, plays, and other works.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Typescript drafts and publications by Clara Rider Hayden, including book reviews, articles, speeches, plays, and other works."],"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_coll_ssim":["Florida Flambeau"],"names_ssim":["FSU Special Collections \u0026 Archives","Florida Flambeau","Hayden, Clara R. (Clara Rider)"],"corpname_ssim":["FSU Special Collections \u0026 Archives","Florida Flambeau"],"persname_ssim":["Hayden, Clara R. (Clara Rider)"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":27,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870859513753501696,"_root_":"07cb385663b2b158c6c6a27c","timestamp":"2026-07-16T08:31:07.871Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/07cb385663b2b158c6c6a27c"}},{"id":"4a57d89ac39a5995188f76c1","type":"collection","attributes":{"title":"Claribel Jett collection of certificates, 1924, 1943","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/4a57d89ac39a5995188f76c1#abstract_or_scope","type":"document_value","attributes":{"value":["\u003cp\u003eThis collection contains three certificates. One is an admittance to the bar for James Henry Millican, dated February 8, 1943, Tallahassee, Florida. Another is a membership certificate for the American Legion for J. A. Grant, dated April 1, 1943. The final certificate is a membership certificate for the Imperial Council of the Ancient Arabic Order of the Nobles of the Mystic Shrine for Sylvester Alphonso Grant, dated March 11, 1924, Jacksonville, Florida.\u003c/p\u003e"],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/4a57d89ac39a5995188f76c1#breadcrumbs","type":"document_value","attributes":{"value":[{"id":"4a57d89ac39a5995188f76c1","title_ssm":["Claribel Jett collection of certificates"],"title_tesim":["Claribel Jett collection of certificates"],"ead_ssi":"4a57d89ac39a5995188f76c1","unitdate_ssm":["1924, 1943"],"unitdate_inclusive_ssm":["1924, 1943"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS 80-06","/repositories/10/resources/453"],"text":["MSS 80-06","/repositories/10/resources/453","Claribel Jett collection of certificates, 1924, 1943","Certificates","This 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.","This collection contains three certificates. One is an admittance to the bar for James Henry Millican, dated February 8, 1943, Tallahassee, Florida. Another is a membership certificate for the American Legion for J. A. Grant, dated April 1, 1943. The final certificate is a membership certificate for the Imperial Council of the Ancient Arabic Order of the Nobles of the Mystic Shrine for Sylvester Alphonso Grant, dated March 11, 1924, Jacksonville, Florida.","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","American Legion","English"],"unitid_tesim":["MSS 80-06","/repositories/10/resources/453"],"normalized_date_ssm":["1924, 1943"],"normalized_title_ssm":["Claribel Jett collection of certificates, 1924, 1943"],"collection_title_tesim":["Claribel Jett collection of certificates, 1924, 1943"],"collection_ssim":["Claribel Jett collection of certificates, 1924, 1943"],"repository_ssm":["FSU Special Collections \u0026 Archives"],"repository_ssim":["FSU Special Collections \u0026 Archives"],"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. 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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":["This 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."],"prefercite_html_tesm":["\u003cp\u003eClaribel Jett collection of certificates, Special Collections \u0026amp; Archives, Florida State University Libraries, Tallahassee, Florida.\nhttps://purl.lib.fsu.edu/fa/MSS-80-06\u003c/p\u003e"],"prefercite_tesim":["Claribel Jett collection of certificates, Special Collections \u0026 Archives, Florida State University Libraries, Tallahassee, Florida.\nhttps://purl.lib.fsu.edu/fa/MSS-80-06"],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains three certificates. One is an admittance to the bar for James Henry Millican, dated February 8, 1943, Tallahassee, Florida. Another is a membership certificate for the American Legion for J. A. Grant, dated April 1, 1943. The final certificate is a membership certificate for the Imperial Council of the Ancient Arabic Order of the Nobles of the Mystic Shrine for Sylvester Alphonso Grant, dated March 11, 1924, Jacksonville, Florida.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection contains three certificates. One is an admittance to the bar for James Henry Millican, dated February 8, 1943, Tallahassee, Florida. Another is a membership certificate for the American Legion for J. A. Grant, dated April 1, 1943. The final certificate is a membership certificate for the Imperial Council of the Ancient Arabic Order of the Nobles of the Mystic Shrine for Sylvester Alphonso Grant, dated March 11, 1924, Jacksonville, Florida."],"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. 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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.","This collection contains three certificates. One is an admittance to the bar for James Henry Millican, dated February 8, 1943, Tallahassee, Florida. Another is a membership certificate for the American Legion for J. A. Grant, dated April 1, 1943. The final certificate is a membership certificate for the Imperial Council of the Ancient Arabic Order of the Nobles of the Mystic Shrine for Sylvester Alphonso Grant, dated March 11, 1924, Jacksonville, Florida.","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","American Legion","English"],"unitid_tesim":["MSS 80-06","/repositories/10/resources/453"],"normalized_date_ssm":["1924, 1943"],"normalized_title_ssm":["Claribel Jett collection of certificates, 1924, 1943"],"collection_title_tesim":["Claribel Jett collection of certificates, 1924, 1943"],"collection_ssim":["Claribel Jett collection of certificates, 1924, 1943"],"repository_ssm":["FSU Special Collections \u0026 Archives"],"repository_ssim":["FSU Special Collections \u0026 Archives"],"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":["Gift of Claribel Jett"],"access_subjects_ssim":["Certificates"],"access_subjects_ssm":["Certificates"],"has_online_content_ssim":["false"],"extent_ssm":["1.00 folders 1 folder."],"extent_tesim":["1.00 folders 1 folder."],"genreform_ssim":["Certificates"],"date_range_isim":[1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943],"accessrestrict_html_tesm":["\u003cp\u003eThis collection 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":["This 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."],"prefercite_html_tesm":["\u003cp\u003eClaribel Jett collection of certificates, Special Collections \u0026amp; Archives, Florida State University Libraries, Tallahassee, Florida.\nhttps://purl.lib.fsu.edu/fa/MSS-80-06\u003c/p\u003e"],"prefercite_tesim":["Claribel Jett collection of certificates, Special Collections \u0026 Archives, Florida State University Libraries, Tallahassee, Florida.\nhttps://purl.lib.fsu.edu/fa/MSS-80-06"],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains three certificates. One is an admittance to the bar for James Henry Millican, dated February 8, 1943, Tallahassee, Florida. Another is a membership certificate for the American Legion for J. A. Grant, dated April 1, 1943. The final certificate is a membership certificate for the Imperial Council of the Ancient Arabic Order of the Nobles of the Mystic Shrine for Sylvester Alphonso Grant, dated March 11, 1924, Jacksonville, Florida.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection contains three certificates. One is an admittance to the bar for James Henry Millican, dated February 8, 1943, Tallahassee, Florida. Another is a membership certificate for the American Legion for J. A. Grant, dated April 1, 1943. The final certificate is a membership certificate for the Imperial Council of the Ancient Arabic Order of the Nobles of the Mystic Shrine for Sylvester Alphonso Grant, dated March 11, 1924, Jacksonville, Florida."],"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_coll_ssim":["American Legion"],"names_ssim":["FSU Special Collections \u0026 Archives","American Legion"],"corpname_ssim":["FSU Special Collections \u0026 Archives","American Legion"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":4,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"4a57d89ac39a5995188f76c1","timestamp":"2026-07-10T08:11:27.159Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/4a57d89ac39a5995188f76c1"}},{"id":"1d5e7fdf6af1935d8a10c98f","type":"collection","attributes":{"title":"Clarke Family Papers Collection, 1840-1998, bulk 1841-1916","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/1d5e7fdf6af1935d8a10c98f#abstract_or_scope","type":"document_value","attributes":{"value":["\u003cp\u003eThe majority of correspondence dates from 1841 to 1916.  Other miscellaneous documents date through 1970. These letters and postcards represent leisure and business correspondence to and from the Clarkes and reflect concerns, beliefs and opinions of ordinary men and women of the nineteenth and early twentieth century. The photos within this collection date from the 1840s and include various methods of processing illustrative of the evolution of photographic procedures.  The majority of the photos are in carte de visite format.  Also included in the collection are cabinet mounted photos and Kodak box camera snapshots.  Additionally, photos taken in the 1970s depict the Clarke's ancestral home, Patmore Manor in Bishop Stortford, England. The transcription of an oral history interview conducted in 1998 with Alice B. Wilkes is also included.\u003c/p\u003e"],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/1d5e7fdf6af1935d8a10c98f#breadcrumbs","type":"document_value","attributes":{"value":[{"id":"1d5e7fdf6af1935d8a10c98f","title_ssm":["Clarke Family Papers Collection"],"title_tesim":["Clarke Family Papers Collection"],"ead_ssi":"1d5e7fdf6af1935d8a10c98f","unitdate_ssm":["1840-1998","1841-1916"],"unitdate_bulk_ssim":["1841-1916"],"unitdate_inclusive_ssm":["1840-1998"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SPC00001","/repositories/2/resources/44"],"text":["SPC00001","/repositories/2/resources/44","Clarke Family Papers Collection, 1840-1998, bulk 1841-1916","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.","The majority of correspondence dates from 1841 to 1916.  Other miscellaneous documents date through 1970. These letters and postcards represent leisure and business correspondence to and from the Clarkes and reflect concerns, beliefs and opinions of ordinary men and women of the nineteenth and early twentieth century. The photos within this collection date from the 1840s and include various methods of processing illustrative of the evolution of photographic procedures.  The majority of the photos are in carte de visite format.  Also included in the collection are cabinet mounted photos and Kodak box camera snapshots.  Additionally, photos taken in the 1970s depict the Clarke's ancestral home, Patmore Manor in Bishop Stortford, England. The transcription of an oral history interview conducted in 1998 with Alice B. Wilkes is also included.","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":["SPC00001","/repositories/2/resources/44"],"normalized_date_ssm":["1840-1998, bulk 1841-1916"],"normalized_title_ssm":["Clarke Family Papers Collection, 1840-1998, bulk 1841-1916"],"collection_title_tesim":["Clarke Family Papers Collection, 1840-1998, bulk 1841-1916"],"collection_ssim":["Clarke Family Papers Collection, 1840-1998, bulk 1841-1916"],"repository_ssm":["Florida Atlantic University Libraries"],"repository_ssim":["Florida Atlantic University Libraries"],"access_terms_ssm":["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 ."],"has_online_content_ssim":["false"],"extent_ssm":["9.00 Linear Feet"],"extent_tesim":["9.00 Linear Feet"],"date_range_isim":[1840,1841,1842,1843,1844,1845,1846,1847,1848,1849,1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998],"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"],"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."],"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."],"scopecontent_html_tesm":["\u003cp\u003eThe majority of correspondence dates from 1841 to 1916.\u0026#xA0; Other miscellaneous documents date through 1970. These letters and postcards represent leisure and business correspondence to and from the Clarkes and reflect concerns, beliefs and opinions of ordinary men and women of the nineteenth and early twentieth century. The photos within this collection date from the 1840s and include various methods of processing illustrative of the evolution of photographic procedures.\u0026#xA0; The majority of the photos are in carte de visite format.\u0026#xA0; Also included in the collection are cabinet mounted photos and Kodak box camera snapshots.\u0026#xA0; Additionally, photos taken in the 1970s depict the Clarke's ancestral home, Patmore Manor in Bishop Stortford, England. The transcription of an oral history interview conducted in 1998 with Alice B. Wilkes is also included.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The majority of correspondence dates from 1841 to 1916.  Other miscellaneous documents date through 1970. These letters and postcards represent leisure and business correspondence to and from the Clarkes and reflect concerns, beliefs and opinions of ordinary men and women of the nineteenth and early twentieth century. The photos within this collection date from the 1840s and include various methods of processing illustrative of the evolution of photographic procedures.  The majority of the photos are in carte de visite format.  Also included in the collection are cabinet mounted photos and Kodak box camera snapshots.  Additionally, photos taken in the 1970s depict the Clarke's ancestral home, Patmore Manor in Bishop Stortford, England. The transcription of an oral history interview conducted in 1998 with Alice B. Wilkes is also included."],"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":735,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870841995094654976,"_root_":"1d5e7fdf6af1935d8a10c98f","timestamp":"2026-07-16T03:52:40.678Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"1d5e7fdf6af1935d8a10c98f","title_ssm":["Clarke Family Papers Collection"],"title_tesim":["Clarke Family Papers Collection"],"ead_ssi":"1d5e7fdf6af1935d8a10c98f","unitdate_ssm":["1840-1998","1841-1916"],"unitdate_bulk_ssim":["1841-1916"],"unitdate_inclusive_ssm":["1840-1998"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SPC00001","/repositories/2/resources/44"],"text":["SPC00001","/repositories/2/resources/44","Clarke Family Papers Collection, 1840-1998, bulk 1841-1916","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.","The majority of correspondence dates from 1841 to 1916.  Other miscellaneous documents date through 1970. These letters and postcards represent leisure and business correspondence to and from the Clarkes and reflect concerns, beliefs and opinions of ordinary men and women of the nineteenth and early twentieth century. The photos within this collection date from the 1840s and include various methods of processing illustrative of the evolution of photographic procedures.  The majority of the photos are in carte de visite format.  Also included in the collection are cabinet mounted photos and Kodak box camera snapshots.  Additionally, photos taken in the 1970s depict the Clarke's ancestral home, Patmore Manor in Bishop Stortford, England. The transcription of an oral history interview conducted in 1998 with Alice B. Wilkes is also included.","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":["SPC00001","/repositories/2/resources/44"],"normalized_date_ssm":["1840-1998, bulk 1841-1916"],"normalized_title_ssm":["Clarke Family Papers Collection, 1840-1998, bulk 1841-1916"],"collection_title_tesim":["Clarke Family Papers Collection, 1840-1998, bulk 1841-1916"],"collection_ssim":["Clarke Family Papers Collection, 1840-1998, bulk 1841-1916"],"repository_ssm":["Florida Atlantic University Libraries"],"repository_ssim":["Florida Atlantic University Libraries"],"access_terms_ssm":["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 ."],"has_online_content_ssim":["false"],"extent_ssm":["9.00 Linear Feet"],"extent_tesim":["9.00 Linear Feet"],"date_range_isim":[1840,1841,1842,1843,1844,1845,1846,1847,1848,1849,1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998],"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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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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