{"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1925\u0026page=31\u0026view=compact","prev":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1925\u0026page=30\u0026view=compact","next":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1925\u0026page=32\u0026view=compact","last":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1925\u0026page=234\u0026view=compact"},"meta":{"pages":{"current_page":31,"next_page":32,"prev_page":30,"total_pages":234,"limit_value":10,"offset_value":300,"total_count":2337,"first_page?":false,"last_page?":false}},"data":[{"id":"4674dbbf638dff3316591cb2_aspace_52541","type":"File","attributes":{"title":"Christmas Card Designs, 1922-1972","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/4674dbbf638dff3316591cb2_aspace_52541#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_52541","ref_ssm":["aspace_52541","aspace_52541"],"id":"4674dbbf638dff3316591cb2_aspace_52541","title_filing_ssi":"Christmas Card Designs","title_ssm":["Christmas Card Designs"],"title_tesim":["Christmas Card Designs"],"unitdate_inclusive_ssm":["1922-1972"],"normalized_date_ssm":["1922-1972"],"normalized_title_ssm":["Christmas Card Designs, 1922-1972"],"text":["Christmas Card Designs, 1922-1972","Michael A. Spencer Bromeliad Research Collection, 1754-2014","Mulford and Racine Foster Files, 1910-1991","Personal Information, 1910-1989.","Box 33, Folder 4-5; Box 209, Item 4","/repositories/4/archival_objects/32799","box 33","folder 4-5","box 209","Item 4"],"component_level_isim":[3],"parent_ids_ssim":["4674dbbf638dff3316591cb2","4674dbbf638dff3316591cb2_aspace_51261","4674dbbf638dff3316591cb2_aspace_52534"],"parent_unittitles_ssm":["Michael A. Spencer Bromeliad Research Collection, 1754-2014","Mulford and Racine Foster Files, 1910-1991","Personal Information, 1910-1989."],"parent_unittitles_tesim":["Michael A. Spencer Bromeliad Research Collection, 1754-2014","Mulford and Racine Foster Files, 1910-1991","Personal Information, 1910-1989."],"parent_levels_ssm":["collection","Series","Subseries"],"unitid_ssm":["Box 33, Folder 4-5; Box 209, Item 4","/repositories/4/archival_objects/32799"],"repository_ssim":["UCF Special Collections"],"collection_ssim":["Michael A. Spencer Bromeliad Research Collection, 1754-2014"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":1163,"parent_access_restrict_tesm":["The entire collection is open for research except for the following:\n\n  Boxes 180-181: Personal correspondence\n  Boxes 213-214: Manuscript of \"Brazil: Orchid of the Tropics\"\n"],"parent_access_terms_tesm":["Unpublished manuscripts are protected by copyright. Permission to publish, quote, or reproduce must be secured from the repository, donor and the copyright holder."],"date_range_isim":[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],"containers_ssim":["box 33","folder 4-5","box 209","Item 4"],"_nest_path_":"/components#0/components#13/components#4","_nest_parent_":"4674dbbf638dff3316591cb2_aspace_52534","_root_":"4674dbbf638dff3316591cb2","timestamp":"2026-07-11T02:53:59.490Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"4674dbbf638dff3316591cb2","title_ssm":["Michael A. Spencer Bromeliad Research Collection"],"title_tesim":["Michael A. Spencer Bromeliad Research Collection"],"ead_ssi":"4674dbbf638dff3316591cb2","unitdate_ssm":["1754-2014"],"unitdate_inclusive_ssm":["1754-2014"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC 068","/repositories/4/resources/148"],"text":["SC 068","/repositories/4/resources/148","Michael A. Spencer Bromeliad Research Collection, 1754-2014","Marineland (Fla.)","Botany","Botany -- Brazil","Bromeliaceae","Bromelin","Cooking (Pineapples)","Pineapple","Plant hybridization","botanical illustrations","negatives (photographs)","Photographic prints","slides (photographs)","The entire collection is open for research except for the following:\n Boxes 180-181: Personal correspondence Boxes 213-214: Manuscript of \"Brazil: Orchid of the Tropics\"","The collection is divided into eight series by type of file.","Michael A. Spencer was born in Orlando and grew up in Winter Garden, Florida. He worked at Sand Hill Nursery near Lake Avalon and the Land of Bromeliads in Gotha before finding employment with Julian Nally. After the Nally estate was sold, Spencer worked for Racine Foster at Bromel-La. He graduated from UCF in 1990 summa cum laude with a BA in Liberal Studies and then found employment with Lyman B. Smith at the Smithsonian Museum of Natural History. Michael Spencer named a genus of bromeliads \"Racinaea\" in honor of Racine Foster. While engaged in his research, Spencer amassed this collection of materials concerning bromeliads and their collectors. He now lives in Frederick, Maryland where he has served on the Historic Preservation Commission since 2004.","Materials were rehoused in pH neutral folders and cartons. Photographs, negatives and slides were enclosed in polyester sleeves. Many of the materials were well organized and the arrangement was retained. The remainder were arranged by following the original arrangement as far as possible. Notes on folders were retained in the new folder. Paper clips were replaced with plastic clips or materials that belonged together were held together in a pH neutral paper sleeve. Loose-leaf notebooks that were badly rusted were discarded and the contents placed in folders. Items loose in the back of notebooks were foldered separately and marked accordingly. Notes from a film canister were written exactly as found as the label could not be removed. Albums falling apart were taken apart and foldered. Albums in reasonable condition had the photographs attached properly with corners and the pages interleaved to prevent sticking. Loose album pages in the Foster subseries on Plant Information were merely foldered as they were not in an album and were found without context. Collecion rehoused and finding aid revised by Chynna Thomas in 2023.","A large book collection accompanies this collection and may be accessed by performing a series search \"Michael A. Spencer Collection\" in the UCF Library  Online Catalog .  Michael A. Spencer Collection on Julian Nally ,  Michael A. Spencer Collection on Theodore Mead ,  Michael A. Spencer Collection on Henry Nehrling  and the  Henry Nehrling Papers  are also available in Special Collections and University Archives, University of Central Florida Libraries. Some paintings by Mulford Foster are held at the  Harry P. Leu Gardens . The  Henry Nehrling Collection  and the  Theodore L. Mead Collection  are held at Rollins College, Winter Park, Florida. Lyman Smith's Papers are held at the  Smithsonian Institution Archives .","Series I: Mulford and Racine Foster Files, 1910-1991 documents the work of these two individuals in discovering and propagating bromeliads. Correspondence, publications, notebooks, drawings, research materials, memorabilia and photographs show all aspects of their work including plant collecting, landscape designing and publishing. Photographs may be black and white or color prints, negatives or slides. Additional materials about the Fosters may be found in Series II and III.","\nSeries II: Subject Files, 1880-2003 contains catalogues, journals, photographs, memorabilia and correspondence that Michael Spencer brought together under his chosen subject headings and arranged alphabetically. Many of the materials in this series originally came from Mulford and Racine Foster, which means that there is some overlap with the previous series. Spencer's own collecting interest lay in documenting the importance of bromeliads in society, and he collected many common items that showed bromeliads, especially pineapples.","\nSeries III: Author Files, 1754-1997 includes a variety of media used for research, such as articles, books, magazines, newspaper clippings, and photographs. There are a significant number of materials authored by Mulford and Racine Foster and Lyman B. Smith, including original manuscripts.","\nSeries IV: Plants by Family Files, 1908-1990 contains alphabetical files on plant families, which include newspaper clippings, books and other research materials.","\nSeries V: Natural History Files, 1853-1997 holds alphabetical files on a wide range of natural history topics including plant societies, authors, drugs and diseases. The files contain published materials, photocopies, web resources, plant and geological samples that document's Michael's Spencer's considerable research interests.","\nSeries VI: Medicinal Files, 1988-1996 contains alphabetical files on diseases and therapies. Not all these files relate to plants though many of them concern natural therapies.","\nSeries VII: Lyman Smith Files: 1905-1994 holds alphabetical files that belonged to Lyman B. Smith. His notebooks, manscripts, teaching materials and correspondence may all be found here.","\nSeries VIII: Personal Files, 1863-2014 contains alphabetical files showing Spencer's interest in collecting books and his wide interests. Materials that do not clearly belong in the other series may be found here.","Unpublished manuscripts are protected by copyright. Permission to publish, quote, or reproduce must be secured from the repository, donor and the copyright holder.","Michael A. Spencer assembled this collection of publications, photographs, drawings, correspondence programs and other materials focusing on the discovery, taxonomy and cultivation of bromeliads. Mulford B. Foster, Racine Foster and Lyman B. Smith are among the significant bromeliad collectors whose work is documented here.","UCF Special Collections","Bromeliad Society","Spencer, Michael A.","Smith, Lyman B.","Foster, Mulford B. (Mulford Bateman), 1888-1978","Foster, Racine, 1910-1991","English"],"unitid_tesim":["SC 068","/repositories/4/resources/148"],"normalized_date_ssm":["1754-2014"],"normalized_title_ssm":["Michael A. Spencer Bromeliad Research Collection, 1754-2014"],"collection_title_tesim":["Michael A. Spencer Bromeliad Research Collection, 1754-2014"],"collection_ssim":["Michael A. Spencer Bromeliad Research Collection, 1754-2014"],"repository_ssm":["UCF Special Collections"],"repository_ssim":["UCF Special Collections"],"geogname_ssm":["Marineland (Fla.)"],"geogname_ssim":["Marineland (Fla.)"],"creator_ssm":["Spencer, Michael A."],"creator_ssim":["Spencer, Michael A."],"creator_persname_ssim":["Spencer, Michael A."],"creators_ssim":["Spencer, Michael A."],"places_ssim":["Marineland (Fla.)"],"access_terms_ssm":["Unpublished manuscripts are protected by copyright. Permission to publish, quote, or reproduce must be secured from the repository, donor and the copyright holder."],"acqinfo_ssim":["Some of these materials were donated to and others were purchased by the University of Central Florida Libraries, Special Collections and University Archives from Michael A. Spencer in 2006 (CFM2006_09), 2011 (CFM2011_02), 2012 (CFM2012_10), and 2014 (CFM2014_01)."],"access_subjects_ssim":["Botany","Botany -- Brazil","Bromeliaceae","Bromelin","Cooking (Pineapples)","Pineapple","Plant hybridization","botanical illustrations","negatives (photographs)","Photographic prints","slides (photographs)"],"access_subjects_ssm":["Botany","Botany -- Brazil","Bromeliaceae","Bromelin","Cooking (Pineapples)","Pineapple","Plant hybridization","botanical illustrations","negatives (photographs)","Photographic prints","slides (photographs)"],"has_online_content_ssim":["false"],"extent_ssm":["130 Linear Feet 259 boxes, 2 flat files"],"extent_tesim":["130 Linear Feet 259 boxes, 2 flat files"],"genreform_ssim":["botanical illustrations","negatives (photographs)","Photographic prints","slides (photographs)"],"date_range_isim":[1754,1755,1756,1757,1758,1759,1760,1761,1762,1763,1764,1765,1766,1767,1768,1769,1770,1771,1772,1773,1774,1775,1776,1777,1778,1779,1780,1781,1782,1783,1784,1785,1786,1787,1788,1789,1790,1791,1792,1793,1794,1795,1796,1797,1798,1799,1800,1801,1802,1803,1804,1805,1806,1807,1808,1809,1810,1811,1812,1813,1814,1815,1816,1817,1818,1819,1820,1821,1822,1823,1824,1825,1826,1827,1828,1829,1830,1831,1832,1833,1834,1835,1836,1837,1838,1839,1840,1841,1842,1843,1844,1845,1846,1847,1848,1849,1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014],"accessrestrict_html_tesm":["\u003cp\u003eThe entire collection is open for research except for the following:\n\u003cul\u003e\n  \u003cli\u003eBoxes 180-181: Personal correspondence\u003c/li\u003e\n  \u003cli\u003eBoxes 213-214: Manuscript of \"Brazil: Orchid of the Tropics\"\u003c/li\u003e\n\u003c/ul\u003e\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access"],"accessrestrict_tesim":["The entire collection is open for research except for the following:\n Boxes 180-181: Personal correspondence Boxes 213-214: Manuscript of \"Brazil: Orchid of the Tropics\""],"arrangement_html_tesm":["\u003cp\u003eThe collection is divided into eight series by type of file.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["The collection is divided into eight series by type of file."],"bioghist_html_tesm":["\u003cp\u003eMichael A. Spencer was born in Orlando and grew up in Winter Garden, Florida. He worked at Sand Hill Nursery near Lake Avalon and the Land of Bromeliads in Gotha before finding employment with Julian Nally. After the Nally estate was sold, Spencer worked for Racine Foster at Bromel-La. He graduated from UCF in 1990 summa cum laude with a BA in Liberal Studies and then found employment with Lyman B. Smith at the Smithsonian Museum of Natural History. Michael Spencer named a genus of bromeliads \"Racinaea\" in honor of Racine Foster. While engaged in his research, Spencer amassed this collection of materials concerning bromeliads and their collectors. He now lives in Frederick, Maryland where he has served on the Historic Preservation Commission since 2004.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["Michael A. Spencer was born in Orlando and grew up in Winter Garden, Florida. He worked at Sand Hill Nursery near Lake Avalon and the Land of Bromeliads in Gotha before finding employment with Julian Nally. After the Nally estate was sold, Spencer worked for Racine Foster at Bromel-La. He graduated from UCF in 1990 summa cum laude with a BA in Liberal Studies and then found employment with Lyman B. Smith at the Smithsonian Museum of Natural History. Michael Spencer named a genus of bromeliads \"Racinaea\" in honor of Racine Foster. While engaged in his research, Spencer amassed this collection of materials concerning bromeliads and their collectors. He now lives in Frederick, Maryland where he has served on the Historic Preservation Commission since 2004."],"prefercite_html_tesm":["\u003cp\u003eMichael A. Spencer Bromeliad Research Collection, Special Collections and University Archives, University of Central Florida, Orlando, Florida.\u003c/p\u003e"],"prefercite_tesim":["Michael A. Spencer Bromeliad Research Collection, Special Collections and University Archives, University of Central Florida, Orlando, Florida."],"processinfo_html_tesm":["\u003cp\u003eMaterials were rehoused in pH neutral folders and cartons. Photographs, negatives and slides were enclosed in polyester sleeves. Many of the materials were well organized and the arrangement was retained. The remainder were arranged by following the original arrangement as far as possible. Notes on folders were retained in the new folder. Paper clips were replaced with plastic clips or materials that belonged together were held together in a pH neutral paper sleeve. Loose-leaf notebooks that were badly rusted were discarded and the contents placed in folders. Items loose in the back of notebooks were foldered separately and marked accordingly. Notes from a film canister were written exactly as found as the label could not be removed. Albums falling apart were taken apart and foldered. Albums in reasonable condition had the photographs attached properly with corners and the pages interleaved to prevent sticking. Loose album pages in the Foster subseries on Plant Information were merely foldered as they were not in an album and were found without context. Collecion rehoused and finding aid revised by Chynna Thomas in 2023.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Materials were rehoused in pH neutral folders and cartons. Photographs, negatives and slides were enclosed in polyester sleeves. Many of the materials were well organized and the arrangement was retained. The remainder were arranged by following the original arrangement as far as possible. Notes on folders were retained in the new folder. Paper clips were replaced with plastic clips or materials that belonged together were held together in a pH neutral paper sleeve. Loose-leaf notebooks that were badly rusted were discarded and the contents placed in folders. Items loose in the back of notebooks were foldered separately and marked accordingly. Notes from a film canister were written exactly as found as the label could not be removed. Albums falling apart were taken apart and foldered. Albums in reasonable condition had the photographs attached properly with corners and the pages interleaved to prevent sticking. Loose album pages in the Foster subseries on Plant Information were merely foldered as they were not in an album and were found without context. Collecion rehoused and finding aid revised by Chynna Thomas in 2023."],"relatedmaterial_html_tesm":["\u003cp\u003eA large book collection accompanies this collection and may be accessed by performing a series search \"Michael A. Spencer Collection\" in the UCF Library \u003cextref href=\"https://library.ucf.edu\"\u003eOnline Catalog\u003c/extref\u003e. \u003cextref href=\"http://purl.flvc.org/UCF/EAD/CFM2006-08c\"\u003eMichael A. Spencer Collection on Julian Nally\u003c/extref\u003e, \u003cextref href=\"http://purl.flvc.org/UCF/EAD/CFM2006-08b\"\u003eMichael A. Spencer Collection on Theodore Mead\u003c/extref\u003e, \u003cextref href=\"http://purl.flvc.org/UCF/EAD/CFM2006-08a\"\u003eMichael A. Spencer Collection on Henry Nehrling\u003c/extref\u003e and the \u003cextref href=\"http://purl.flvc.org/UCF/EAD/CFM1999-03\"\u003eHenry Nehrling Papers\u003c/extref\u003e are also available in Special Collections and University Archives, University of Central Florida Libraries. Some paintings by Mulford Foster are held at the \u003cextref href=\"http://www.leugardens.org/\"\u003eHarry P. Leu Gardens\u003c/extref\u003e. The \u003cextref href=\"https://aspace.rollins.edu/repositories/2/resources/4\"\u003eHenry Nehrling Collection\u003c/extref\u003e and the \u003cextref href=\"https://aspace.rollins.edu/repositories/2/resources/97\"\u003eTheodore L. Mead Collection\u003c/extref\u003e are held at Rollins College, Winter Park, Florida. Lyman Smith's Papers are held at the \u003cextref href=\"http://siarchives.si.edu/\"\u003eSmithsonian Institution Archives\u003c/extref\u003e.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["A large book collection accompanies this collection and may be accessed by performing a series search \"Michael A. Spencer Collection\" in the UCF Library  Online Catalog .  Michael A. Spencer Collection on Julian Nally ,  Michael A. Spencer Collection on Theodore Mead ,  Michael A. Spencer Collection on Henry Nehrling  and the  Henry Nehrling Papers  are also available in Special Collections and University Archives, University of Central Florida Libraries. Some paintings by Mulford Foster are held at the  Harry P. Leu Gardens . The  Henry Nehrling Collection  and the  Theodore L. Mead Collection  are held at Rollins College, Winter Park, Florida. Lyman Smith's Papers are held at the  Smithsonian Institution Archives ."],"scopecontent_html_tesm":["\u003cp\u003eSeries I: Mulford and Racine Foster Files, 1910-1991 documents the work of these two individuals in discovering and propagating bromeliads. Correspondence, publications, notebooks, drawings, research materials, memorabilia and photographs show all aspects of their work including plant collecting, landscape designing and publishing. Photographs may be black and white or color prints, negatives or slides. Additional materials about the Fosters may be found in Series II and III.\u003c/p\u003e\n","\u003cp\u003e\nSeries II: Subject Files, 1880-2003 contains catalogues, journals, photographs, memorabilia and correspondence that Michael Spencer brought together under his chosen subject headings and arranged alphabetically. Many of the materials in this series originally came from Mulford and Racine Foster, which means that there is some overlap with the previous series. Spencer's own collecting interest lay in documenting the importance of bromeliads in society, and he collected many common items that showed bromeliads, especially pineapples.\u003c/p\u003e\n","\u003cp\u003e\nSeries III: Author Files, 1754-1997 includes a variety of media used for research, such as articles, books, magazines, newspaper clippings, and photographs. There are a significant number of materials authored by Mulford and Racine Foster and Lyman B. Smith, including original manuscripts.\u003c/p\u003e\n","\u003cp\u003e\nSeries IV: Plants by Family Files, 1908-1990 contains alphabetical files on plant families, which include newspaper clippings, books and other research materials.\u003c/p\u003e\n","\u003cp\u003e\nSeries V: Natural History Files, 1853-1997 holds alphabetical files on a wide range of natural history topics including plant societies, authors, drugs and diseases. The files contain published materials, photocopies, web resources, plant and geological samples that document's Michael's Spencer's considerable research interests.\u003c/p\u003e\n","\u003cp\u003e\nSeries VI: Medicinal Files, 1988-1996 contains alphabetical files on diseases and therapies. Not all these files relate to plants though many of them concern natural therapies.\u003c/p\u003e\n","\u003cp\u003e\nSeries VII: Lyman Smith Files: 1905-1994 holds alphabetical files that belonged to Lyman B. Smith. His notebooks, manscripts, teaching materials and correspondence may all be found here.\u003c/p\u003e\n","\u003cp\u003e\nSeries VIII: Personal Files, 1863-2014 contains alphabetical files showing Spencer's interest in collecting books and his wide interests. Materials that do not clearly belong in the other series may be found here.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Series I: Mulford and Racine Foster Files, 1910-1991 documents the work of these two individuals in discovering and propagating bromeliads. Correspondence, publications, notebooks, drawings, research materials, memorabilia and photographs show all aspects of their work including plant collecting, landscape designing and publishing. Photographs may be black and white or color prints, negatives or slides. Additional materials about the Fosters may be found in Series II and III.","\nSeries II: Subject Files, 1880-2003 contains catalogues, journals, photographs, memorabilia and correspondence that Michael Spencer brought together under his chosen subject headings and arranged alphabetically. Many of the materials in this series originally came from Mulford and Racine Foster, which means that there is some overlap with the previous series. Spencer's own collecting interest lay in documenting the importance of bromeliads in society, and he collected many common items that showed bromeliads, especially pineapples.","\nSeries III: Author Files, 1754-1997 includes a variety of media used for research, such as articles, books, magazines, newspaper clippings, and photographs. There are a significant number of materials authored by Mulford and Racine Foster and Lyman B. Smith, including original manuscripts.","\nSeries IV: Plants by Family Files, 1908-1990 contains alphabetical files on plant families, which include newspaper clippings, books and other research materials.","\nSeries V: Natural History Files, 1853-1997 holds alphabetical files on a wide range of natural history topics including plant societies, authors, drugs and diseases. The files contain published materials, photocopies, web resources, plant and geological samples that document's Michael's Spencer's considerable research interests.","\nSeries VI: Medicinal Files, 1988-1996 contains alphabetical files on diseases and therapies. Not all these files relate to plants though many of them concern natural therapies.","\nSeries VII: Lyman Smith Files: 1905-1994 holds alphabetical files that belonged to Lyman B. Smith. His notebooks, manscripts, teaching materials and correspondence may all be found here.","\nSeries VIII: Personal Files, 1863-2014 contains alphabetical files showing Spencer's interest in collecting books and his wide interests. Materials that do not clearly belong in the other series may be found here."],"userestrict_html_tesm":["\u003cp\u003eUnpublished manuscripts are protected by copyright. Permission to publish, quote, or reproduce must be secured from the repository, donor and the copyright holder.\u003c/p\u003e"],"userestrict_heading_ssm":["Copyright Statement"],"userestrict_tesim":["Unpublished manuscripts are protected by copyright. Permission to publish, quote, or reproduce must be secured from the repository, donor and the copyright holder."],"abstract_html_tesm":["\u003cabstract id=\"aspace_8e33310d6b1a70e4d88f1e2d3043cf71\" label=\"Abstract\"\u003eMichael A. Spencer assembled this collection of publications, photographs, drawings, correspondence programs and other materials focusing on the discovery, taxonomy and cultivation of bromeliads. Mulford B. Foster, Racine Foster and Lyman B. Smith are among the significant bromeliad collectors whose work is documented here.\u003c/abstract\u003e"],"abstract_tesim":["Michael A. Spencer assembled this collection of publications, photographs, drawings, correspondence programs and other materials focusing on the discovery, taxonomy and cultivation of bromeliads. Mulford B. Foster, Racine Foster and Lyman B. Smith are among the significant bromeliad collectors whose work is documented here."],"names_coll_ssim":["Bromeliad Society","Smith, Lyman B.","Foster, Mulford B. (Mulford Bateman), 1888-1978","Foster, Racine, 1910-1991"],"names_ssim":["UCF Special Collections","Bromeliad Society","Spencer, Michael A.","Smith, Lyman B.","Foster, Mulford B. (Mulford Bateman), 1888-1978","Foster, Racine, 1910-1991"],"corpname_ssim":["UCF Special Collections","Bromeliad Society"],"persname_ssim":["Spencer, Michael A.","Smith, Lyman B.","Foster, Mulford B. (Mulford Bateman), 1888-1978","Foster, Racine, 1910-1991"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":3662,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"4674dbbf638dff3316591cb2","timestamp":"2026-07-11T02:53:59.490Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/4674dbbf638dff3316591cb2_aspace_52541"}},{"id":"a3eabcc4094ea8e02f42af5b_aspace_6393","type":"Item","attributes":{"title":"Christmas Greeting Postcard from E. S. Mason, December 23, 1925","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/a3eabcc4094ea8e02f42af5b_aspace_6393#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_6393","ref_ssm":["aspace_6393","aspace_6393"],"id":"a3eabcc4094ea8e02f42af5b_aspace_6393","title_filing_ssi":"Christmas Greeting Postcard from E. S. Mason","title_ssm":["Christmas Greeting Postcard from E. S. Mason"],"title_tesim":["Christmas Greeting Postcard from E. S. Mason"],"unitdate_other_ssim":["December 23, 1925"],"normalized_date_ssm":["December 23, 1925"],"normalized_title_ssm":["Christmas Greeting Postcard from E. S. Mason, December 23, 1925"],"text":["Christmas Greeting Postcard from E. S. Mason, December 23, 1925","Florida Ephemera collection, circa 1813-2007","Geographic Files, circa 1813-2007","South Florida, 1822-1998","Item 13","/repositories/4/archival_objects/13108","box 10","folder 2"],"component_level_isim":[3],"parent_ids_ssim":["a3eabcc4094ea8e02f42af5b","a3eabcc4094ea8e02f42af5b_aspace_5649","a3eabcc4094ea8e02f42af5b_aspace_6311"],"parent_unittitles_ssm":["Florida Ephemera collection, circa 1813-2007","Geographic Files, circa 1813-2007","South Florida, 1822-1998"],"parent_unittitles_tesim":["Florida Ephemera collection, circa 1813-2007","Geographic Files, circa 1813-2007","South Florida, 1822-1998"],"parent_levels_ssm":["collection","Series","Subseries"],"unitid_ssm":["Item 13","/repositories/4/archival_objects/13108"],"repository_ssim":["UCF Special Collections"],"collection_ssim":["Florida Ephemera collection, circa 1813-2007"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":691,"parent_access_restrict_tesm":["The entire collection is open for research."],"parent_access_terms_tesm":["Unpublished manuscripts are protected by copyright. Permission to publish, quote or reproduce must be secured from the repository and the copyright holder."],"date_range_isim":[1925],"containers_ssim":["box 10","folder 2"],"_nest_path_":"/components#0/components#2/components#75","_nest_parent_":"a3eabcc4094ea8e02f42af5b_aspace_6311","_root_":"a3eabcc4094ea8e02f42af5b","_version_":1876384024848498688,"timestamp":"2026-09-15T08:00:52.198Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"a3eabcc4094ea8e02f42af5b","title_ssm":["Florida Ephemera collection"],"title_tesim":["Florida Ephemera collection"],"ead_ssi":"a3eabcc4094ea8e02f42af5b","unitdate_ssm":["circa 1813-2007"],"unitdate_inclusive_ssm":["circa 1813-2007"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC.032","/repositories/4/resources/60"],"text":["SC.032","/repositories/4/resources/60","Florida Ephemera collection, circa 1813-2007","Florida","Florida -- Politics and government","Orlando (Fla.)","Agriculture -- Florida","Business -- Florida","Gardening -- Florida","Parks -- Florida","Tourism","The entire collection is open for research.","The collection is divided into three series, Geographic Files, Artifacts and Subject Files. Geographic Files are arranged in three subseries, Central, North and South Florida, with Central Florida organized alphabetically by county. General information about a region begins each subseries, followed by cities and counties that have a high volume of information. Subject Files are arranged alphabetically.","Thomas and Georgine Mickler ran a small publishing company, Mickler House, and a thriving mail-order business, Mickler's Antiquarian Books, out of their Chuluota home for almost 40 years. The Mickler's focused on tracing out-of-print publications about Florida and ultimately collected more than 40,000 books and other historical pieces of paper memorabilia that filled their home. Thomas Mickler was a native Floridian but Georgine was born in Chicago. She moved to Orlando in 1961, and they married the following year. Both of them lived until they were 84 years old; Thomas died in 1997 and Georgine died a year later.","Collection processed by Jessica Achberger; finding aid prepared by Jessica Achberger and Jeffrey Baumiller.","This collection was processed by both geographic area and subject matter. Materials related to a specific location within Florida were divided out, while materials related to Florida as a whole were separated into specific subject matter. All materials are foldered, with special attention being paid to newspaper clippings and delicate manuscript materials. Sheets of acid free paper were put between clippings, and some materials have been sleeved for preservation.","Other materials collected by the Micklers are held in the University of Central Florida Libraries Special Collections and University Archives, and other collections provide information about Florida. For a complete list of collections please consult the  Special Collections \u0026 University Archives  website.","The Florida Ephemera Collection consists of materials about or produced in Florida collected by Thomas and Georgine Mickler through their mail-order business, Mickler's Antiquarian Books, as well as additional purchases made by the University of Central Florida Libraries Special Collections. These materials are all related in some way to Florida, either geographically or through the subject matter.","\nSeries I: Geographic Files, circa 1813-2007 contain tourism brochures, information on local historical societies, local business advertisements and newspaper clippings related to the different geographic areas of Florida, loosely divided into Central, North and South Florida. Some information may also be found in a Subject file; however, generally the Subject Files consist of information about Florida as a whole.","\nSeries II: Subject Files, 1831-2005 consist of booklets and brochures, newspaper and journal articles, business cards and advertisements, and periodicals related to Florida, arranged by subject alphabetically. Topics include Agricultural Literature, Arts and Humanities, Gardening Literature, History, Politics and Government, Real Estate and Development, State Parks and Historical Markers, Tourism, and Wildlife.","Series III: Artifacts, Undated, 1971, contains larger items that pertain to geographical and subject files \nconcerning Florida. Included thus far are a cork mat depicting Bok Tower and a bottle commemorating \nthe Apollo 14 mission.","Unpublished manuscripts are protected by copyright. Permission to publish, quote or reproduce must be secured from the repository and the copyright holder.","The Florida Ephemera Collection is a collection of brochures, advertisements and news clippings documenting the history of Florida. Although the collection includes information about Florida as a whole, it focuses on the Central Florida area, and Orlando in particular. The collection contains information about most aspects of life in Florida including business and industry, real estate and development, tourism and wildlife.","UCF Special Collections","Mickler, Thomas, 1912-1997","Mickler, Georgine, 1914-1998","English"],"unitid_tesim":["SC.032","/repositories/4/resources/60"],"normalized_date_ssm":["circa 1813-2007"],"normalized_title_ssm":["Florida Ephemera collection, circa 1813-2007"],"collection_title_tesim":["Florida Ephemera collection, circa 1813-2007"],"collection_ssim":["Florida Ephemera collection, circa 1813-2007"],"repository_ssm":["UCF Special Collections"],"repository_ssim":["UCF Special Collections"],"geogname_ssm":["Florida","Florida -- Politics and government","Orlando (Fla.)"],"geogname_ssim":["Florida","Florida -- Politics and government","Orlando (Fla.)"],"creator_ssm":["Mickler, Thomas, 1912-1997","Mickler, Georgine, 1914-1998"],"creator_ssim":["Mickler, Thomas, 1912-1997","Mickler, Georgine, 1914-1998"],"creator_persname_ssim":["Mickler, Thomas, 1912-1997","Mickler, Georgine, 1914-1998"],"creators_ssim":["Mickler, Thomas, 1912-1997","Mickler, Georgine, 1914-1998"],"places_ssim":["Florida","Florida -- Politics and government","Orlando (Fla.)"],"access_terms_ssm":["Unpublished manuscripts are protected by copyright. Permission to publish, quote or reproduce must be secured from the repository and the copyright holder."],"acqinfo_ssim":["The ephemera was mostly collected by Thomas and Georgine Mickler of Micklers Antiquarian Books. These materials were purchased by the University of Central Florida Libraries, Special Collections and University Archives in 1999 (CFM1999_06). Ephemera from a variety of sources will continue to be purchased to create a collection relevant to Florida's history."],"access_subjects_ssim":["Agriculture -- Florida","Business -- Florida","Gardening -- Florida","Parks -- Florida","Tourism"],"access_subjects_ssm":["Agriculture -- Florida","Business -- Florida","Gardening -- Florida","Parks -- Florida","Tourism"],"has_online_content_ssim":["false"],"extent_ssm":["13 Linear Feet 26 Boxes, 1 Flat File"],"extent_tesim":["13 Linear Feet 26 Boxes, 1 Flat File"],"date_range_isim":[1813,1814,1815,1816,1817,1818,1819,1820,1821,1822,1823,1824,1825,1826,1827,1828,1829,1830,1831,1832,1833,1834,1835,1836,1837,1838,1839,1840,1841,1842,1843,1844,1845,1846,1847,1848,1849,1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007],"accessrestrict_html_tesm":["\u003cp\u003eThe entire collection is open for research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The entire collection is open for research."],"arrangement_html_tesm":["\u003cp\u003eThe collection is divided into three series, Geographic Files, Artifacts and Subject Files. Geographic Files are arranged in three subseries, Central, North and South Florida, with Central Florida organized alphabetically by county. General information about a region begins each subseries, followed by cities and counties that have a high volume of information. Subject Files are arranged alphabetically.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["The collection is divided into three series, Geographic Files, Artifacts and Subject Files. Geographic Files are arranged in three subseries, Central, North and South Florida, with Central Florida organized alphabetically by county. General information about a region begins each subseries, followed by cities and counties that have a high volume of information. Subject Files are arranged alphabetically."],"bioghist_html_tesm":["\u003cp\u003eThomas and Georgine Mickler ran a small publishing company, Mickler House, and a thriving mail-order business, Mickler's Antiquarian Books, out of their Chuluota home for almost 40 years. The Mickler's focused on tracing out-of-print publications about Florida and ultimately collected more than 40,000 books and other historical pieces of paper memorabilia that filled their home. Thomas Mickler was a native Floridian but Georgine was born in Chicago. She moved to Orlando in 1961, and they married the following year. Both of them lived until they were 84 years old; Thomas died in 1997 and Georgine died a year later.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["Thomas and Georgine Mickler ran a small publishing company, Mickler House, and a thriving mail-order business, Mickler's Antiquarian Books, out of their Chuluota home for almost 40 years. The Mickler's focused on tracing out-of-print publications about Florida and ultimately collected more than 40,000 books and other historical pieces of paper memorabilia that filled their home. Thomas Mickler was a native Floridian but Georgine was born in Chicago. She moved to Orlando in 1961, and they married the following year. Both of them lived until they were 84 years old; Thomas died in 1997 and Georgine died a year later."],"prefercite_html_tesm":["\u003cp\u003eFlorida Ephemera Collection, Special Collections and University Archives, University of Central Florida, Orlando, Florida.\u003c/p\u003e"],"prefercite_tesim":["Florida Ephemera Collection, Special Collections and University Archives, University of Central Florida, Orlando, Florida."],"processinfo_html_tesm":["\u003cp\u003eCollection processed by Jessica Achberger; finding aid prepared by Jessica Achberger and Jeffrey Baumiller.\u003c/p\u003e","\u003cp\u003eThis collection was processed by both geographic area and subject matter. Materials related to a specific location within Florida were divided out, while materials related to Florida as a whole were separated into specific subject matter. All materials are foldered, with special attention being paid to newspaper clippings and delicate manuscript materials. Sheets of acid free paper were put between clippings, and some materials have been sleeved for preservation.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Collection processed by Jessica Achberger; finding aid prepared by Jessica Achberger and Jeffrey Baumiller.","This collection was processed by both geographic area and subject matter. Materials related to a specific location within Florida were divided out, while materials related to Florida as a whole were separated into specific subject matter. All materials are foldered, with special attention being paid to newspaper clippings and delicate manuscript materials. Sheets of acid free paper were put between clippings, and some materials have been sleeved for preservation."],"relatedmaterial_html_tesm":["\u003cp\u003eOther materials collected by the Micklers are held in the University of Central Florida Libraries Special Collections and University Archives, and other collections provide information about Florida. For a complete list of collections please consult the \u003cextref href=\"http://library.ucf.edu/about/departments/special-collections-university-archives/\"\u003eSpecial Collections \u0026amp; University Archives\u003c/extref\u003e website.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Other materials collected by the Micklers are held in the University of Central Florida Libraries Special Collections and University Archives, and other collections provide information about Florida. For a complete list of collections please consult the  Special Collections \u0026 University Archives  website."],"scopecontent_html_tesm":["\u003cp\u003eThe Florida Ephemera Collection consists of materials about or produced in Florida collected by Thomas and Georgine Mickler through their mail-order business, Mickler's Antiquarian Books, as well as additional purchases made by the University of Central Florida Libraries Special Collections. These materials are all related in some way to Florida, either geographically or through the subject matter.\u003c/p\u003e\n","\u003cp\u003e\nSeries I: Geographic Files, circa 1813-2007 contain tourism brochures, information on local historical societies, local business advertisements and newspaper clippings related to the different geographic areas of Florida, loosely divided into Central, North and South Florida. Some information may also be found in a Subject file; however, generally the Subject Files consist of information about Florida as a whole.\u003c/p\u003e\n","\u003cp\u003e\nSeries II: Subject Files, 1831-2005 consist of booklets and brochures, newspaper and journal articles, business cards and advertisements, and periodicals related to Florida, arranged by subject alphabetically. Topics include Agricultural Literature, Arts and Humanities, Gardening Literature, History, Politics and Government, Real Estate and Development, State Parks and Historical Markers, Tourism, and Wildlife.\u003c/p\u003e\n","\u003cp\u003eSeries III: Artifacts, Undated, 1971, contains larger items that pertain to geographical and subject files \nconcerning Florida. Included thus far are a cork mat depicting Bok Tower and a bottle commemorating \nthe Apollo 14 mission.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The Florida Ephemera Collection consists of materials about or produced in Florida collected by Thomas and Georgine Mickler through their mail-order business, Mickler's Antiquarian Books, as well as additional purchases made by the University of Central Florida Libraries Special Collections. These materials are all related in some way to Florida, either geographically or through the subject matter.","\nSeries I: Geographic Files, circa 1813-2007 contain tourism brochures, information on local historical societies, local business advertisements and newspaper clippings related to the different geographic areas of Florida, loosely divided into Central, North and South Florida. Some information may also be found in a Subject file; however, generally the Subject Files consist of information about Florida as a whole.","\nSeries II: Subject Files, 1831-2005 consist of booklets and brochures, newspaper and journal articles, business cards and advertisements, and periodicals related to Florida, arranged by subject alphabetically. Topics include Agricultural Literature, Arts and Humanities, Gardening Literature, History, Politics and Government, Real Estate and Development, State Parks and Historical Markers, Tourism, and Wildlife.","Series III: Artifacts, Undated, 1971, contains larger items that pertain to geographical and subject files \nconcerning Florida. Included thus far are a cork mat depicting Bok Tower and a bottle commemorating \nthe Apollo 14 mission."],"userestrict_html_tesm":["\u003cp\u003eUnpublished manuscripts are protected by copyright. Permission to publish, quote or reproduce must be secured from the repository and the copyright holder.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Unpublished manuscripts are protected by copyright. Permission to publish, quote or reproduce must be secured from the repository and the copyright holder."],"abstract_html_tesm":["\u003cabstract id=\"aspace_64c3d62675ae88c59d40c8d1db049bf2\" label=\"Abstract\"\u003eThe Florida Ephemera Collection is a collection of brochures, advertisements and news clippings documenting the history of Florida. Although the collection includes information about Florida as a whole, it focuses on the Central Florida area, and Orlando in particular. The collection contains information about most aspects of life in Florida including business and industry, real estate and development, tourism and wildlife.\u003c/abstract\u003e"],"abstract_tesim":["The Florida Ephemera Collection is a collection of brochures, advertisements and news clippings documenting the history of Florida. Although the collection includes information about Florida as a whole, it focuses on the Central Florida area, and Orlando in particular. The collection contains information about most aspects of life in Florida including business and industry, real estate and development, tourism and wildlife."],"names_ssim":["UCF Special Collections","Mickler, Thomas, 1912-1997","Mickler, Georgine, 1914-1998"],"corpname_ssim":["UCF Special Collections"],"persname_ssim":["Mickler, Thomas, 1912-1997","Mickler, Georgine, 1914-1998"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":1479,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1876384024848498688,"_root_":"a3eabcc4094ea8e02f42af5b","timestamp":"2026-09-15T08:00:52.198Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/a3eabcc4094ea8e02f42af5b_aspace_6393"}},{"id":"45807c67f367973431520ee3_aspace_2a0505a75a877ef7c3067cd34f1ef7da","type":"Series","attributes":{"title":"Church Buildings, 1900-1980, Undated","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/45807c67f367973431520ee3_aspace_2a0505a75a877ef7c3067cd34f1ef7da#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_2a0505a75a877ef7c3067cd34f1ef7da","ref_ssm":["aspace_2a0505a75a877ef7c3067cd34f1ef7da","aspace_2a0505a75a877ef7c3067cd34f1ef7da"],"id":"45807c67f367973431520ee3_aspace_2a0505a75a877ef7c3067cd34f1ef7da","title_filing_ssi":"Church Buildings","title_ssm":["Church Buildings"],"title_tesim":["Church Buildings"],"unitdate_inclusive_ssm":["1900-1980"],"unitdate_other_ssim":["Undated"],"normalized_date_ssm":["1900-1980, Undated"],"normalized_title_ssm":["Church Buildings, 1900-1980, Undated"],"text":["Church Buildings, 1900-1980, Undated","Northeast Florida Regional Postcard Collection, 1858-2019","/repositories/3/archival_objects/9636","box 1","folder 10"],"component_level_isim":[1],"parent_ids_ssim":["45807c67f367973431520ee3"],"parent_unittitles_ssm":["Northeast Florida Regional Postcard Collection, 1858-2019"],"parent_unittitles_tesim":["Northeast Florida Regional Postcard Collection, 1858-2019"],"parent_levels_ssm":["collection"],"unitid_ssm":["/repositories/3/archival_objects/9636"],"repository_ssim":["UNF Library Special Collections and University Archives"],"collection_ssim":["Northeast Florida Regional Postcard Collection, 1858-2019"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Series"],"level_ssim":["Series"],"sort_isi":10,"parent_access_restrict_tesm":["The collection is open for research by appointment only. Please contact lib-special@unf.edu to schedule an appointment."],"parent_access_terms_tesm":["Materials in the collection may be subject to copyright and are to be used for private study, scholarship, or research in accordance with the copyright law of the United States (Title 17, United States Code). Use of reproductions of copyrighted works in excess of \" fair use,\" may result in the user's liability for copyright infringement and be subject to the civil and criminal penalties of federal law. Visit the United States Copyright Office's website at http://www.copyright.gov/ for further information"],"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],"containers_ssim":["box 1","folder 10"],"_nest_path_":"/components#9","_nest_parent_":"45807c67f367973431520ee3","_root_":"45807c67f367973431520ee3","_version_":1872853597225484288,"timestamp":"2026-08-07T08:46:14.061Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"45807c67f367973431520ee3","title_ssm":["Northeast Florida Regional Postcard Collection"],"title_tesim":["Northeast Florida Regional Postcard Collection"],"ead_ssi":"45807c67f367973431520ee3","unitdate_ssm":["1858-2019"],"unitdate_inclusive_ssm":["1858-2019"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["2024.001","/repositories/3/resources/82"],"text":["2024.001","/repositories/3/resources/82","Northeast Florida Regional Postcard Collection, 1858-2019","The collection is open for research by appointment only. Please contact lib-special@unf.edu to schedule an appointment.","\tIn the United States, the traditional picture postcard rose to popularity in the early 20th century. Postcard history is often divided into eight distinct \"eras\" beginning in the 1850s and continuing through the \"Golden Age of Postcards\" beginning around 1905 and lasting through 1915. In this golden age, millions of cards were printed and sold throughout the entire U.S. and collecting cards became a popular hobby. The Northeast Florida Regional Postcard Collection contains examples from many of the documented eras, including photographic cards popularized in the nineteen teens and twenties. ","\nAdvances in printing and photographic techniques along with faster shipping methods between the U.S. and Europe allowed for the mass production of brightly colored pictorial cards to be quickly manufactured and distributed to sellers. In addition to the printers in major U.S. cities, a network of publishers and photographers allowed many local businesses in small towns across the U.S. to commission postcards of local \"views\" that were cheaply printed in Germany. Many images of small-town life, including municipal architecture, private residences, and street scenes were preserved and are a useful tool for local historians and researchers. These views act as a \"visual record of a town\" and help develop a fuller understanding of the locations represented in the postcards. Additionally, postcards depicted natural disasters, fires, local amusements, and tourist attractions and were important to the souvenir trade of the time.  ","\nAt the height of the industry's popularity, publishers would often share or even steal negatives to create their own postcards and often would change or distort the negative to make them appear different from other printers. Misspellings were common and incorrectly captioned cards were also prevalent. The Northeast Florida Regional Postcard collection has several examples of this business tactic and many examples of misspellings in the captions or titles on the cards. ","\nEnthusiasm for postcard collecting began to wane around 1912 and ended with the start of World War I. Even though the initial craze for postcards diminished, they are still produced and continue to be a useful visual record for researchers and historians of the late 19th and early 20th centuries. The Northeast Florida Regional Postcard Collection supports many of our Florida ephemera or Floridiana collections and is a great resource for the visual history of Jacksonville, St. Augustine, and the other towns of Northeast Florida. ","Sources:\n New York State Library Postcard Collection-Appendix C","Greetings from the Smithsonian: A Postcard History","This collection contains postcards related to Northeast Florida's agricultural, shipping, manufacturing, and tourism industries and is part of a larger ephemera collection related to region. The collection was donated over several years by UNF library staff. Postcards range in date from the late 19th century through the late 20th century, with the bulk dates falling between 1900 and 1950. The collection is arranged alphabetically by series and chronologically within each series. \nSeries in this collection include the following:","Series 1- Advertising Cards (arranged chronologically) contains business advertisement cards from Northeast Florida business and organizations.","Series 2- Agriculture (arranged chronologically) contains postcards depicting the agricultural industry in Northeast Florida","Series 3- Airports (arranged chronologically) contains postcards depicting Jacksonville International Airport and local municipal airports in Northeast Florida.","Series 4- Alligator Farm; Jacksonville, Florida (arranged chronologically) contains postcards depicting scenes from the Alligator farm, an early 20th century tourist attraction in Jacksonville, Florida.","Series 5- Atlantic Beach, Florida (arranged chronologically) contains postcards depicting panoramic views of Atlantic Beach, local hotels, and other tourist attractions.","Series 6- Atlantic Intracoastal Waterway (arranged chronologically) contains postcards depicting steamer ships owned by the Clyde Line, commercial shipping docks, and views of the intracoastal waterway.","Series 7- Bank Buildings (arranged chronologically) contains postcards depicting the Florida National Bank, Atlantic National Bank, Barnett First National Bank, and other local Northeast Florida Bank buildings.","Series 8- Bridges (arranged chronologically) contains postcards depicting local Jacksonville, Florida bridges, including the Fuller Warren Bridge, Main Street Bridge, Matthews Bridge, Napolean Bonaparte Broward Bridge, and Hart Bridge.","Series 9- Buildings (arranged chronologically) contains postcards depicting buildings in downtown Jacksonville, including structures of architectural significance like the St. James Building and the Shriners Temple.","Series 10- Church Buildings (arranged chronologically) contains postcards depicting churches of different denominations, including Catholic, Baptist, Methodist, and Episcopal, in the Northeast Florida area.","Series 11- Clubs (arranged chronologically) contains postcards depicting Jacksonville area athletic and social clubs. Examples include the Seminole Club, Fort George Club, Masonic Temple, and San Jose Golf Club.","Series 12- Cumberland Island, Georgia (arranged chronologically) contains postcards depicting Thomas M. Carnegie's home, Dungeness. ","Series 13- Dixieland Park; Jacksonville, Florida (arranged chronologically) contains postcards depicting early 20th century tourist attraction on the Southbank of Jacksonville. ","Series 14- Docks and Shipping (arranged chronologically) contains postcards depicting scenes of commercial shipping docks and steamer ships on the St Johns River in downtown Jacksonville. ","Series 15- Dwellings (arranged chronologically) contains postcards depicting private residences in the Riverside, Springfield, Mandarin, and Ortega neighborhoods of Jacksonville. ","Series 16- Epping Forest; Jacksonville, Florida (arranged chronologically) contains postcards depicting the mansion of Alfred I. du Pont, now the Epping Forest Yacht Club.","Series 17- Eustis, Florida (arranged chronologically) contains postcards depicting photographic postcard taken in Eustis, Florida.","Series 18- Fernandina Beach, Florida (arranged chronologically) contains postcards depicting businesses, municipal buildings, hotels, private residences, and beach scenes.","Series 19- Florida Ostrich Farm; Jacksonville, Florida (arranged chronologically) contains postcards depicting tourist attraction popular in the early 20th century, with scenes of the farm with birds and ostriches racing. ","Series 20- Fort Clinch State Park, Florida (arranged chronologically) contains postcards depicting structures and ruins of the Civil War fort near Amelia Island and Fernandina Beach.","Series 21- Friendship Park; Jacksonville, Florida (arranged chronologically) contains postcards depicting Friendship fountain and the downtown Jacksonville skyline across from the park located on the Southbank. ","Series 22- Gardens (arranged chronologically) contains postcards depicting scenes of plants native to Northeast Florida and Cummer Museum and Gardens. ","Series 23- General (arranged chronologically) contains postcards depicting a variety of scenes of locations in Jacksonville, cards printed by local printer H\u0026WB Drew Company, and cards addressed to Jacksonville addresses.","Series 24- Green Cove Springs, Florida (arranged chronologically) contains postcards depicting Springs, the bathing pavilion, and the Qui-Si-Sana Hotel and Health Spa. ","Series 25- Hemming Park; Jacksonville, Florida (arranged chronologically) contains postcards depicting the grounds and businesses surrounding the park, known today as James Weldon Johnson Park. ","Series 26- Highways (arranged chronologically) contains postcards depicting several multi-lane highways and expressways in Jacksonville. ","Series 27- Hilliard, Florida (arranged chronologically) contains postcards depicting a hotel located in Hilliard, Florida near the Florida/Georgia Border. ","Series 28- Hospitals (arranged chronologically) contains postcards depicting Jacksonville area hospitals, including St. Vincent's Hospital, De Soto Sanatorium, St. Luke's Hospital, and Brewster Hospital. ","Series 29- Hotels (arranged chronologically) contains postcards depicting Jacksonville area hotels, including Hotel Burbridge, Hotel Roosevelt, Aragon Hotel, and Windsor Hotel. ","Series 30- Jacksonville Beach, Florida (arranged chronologically) contains postcards depicting scenes of local businesses, hotels, restaurants, and beaches.","Series 31- Keystone Heights, Florida (arranged chronologically) contains postcards depicting a hotel in Keystone Heights, Florida. ","Series 32- Kingsley Plantation; Fort George Island, Florida (arranged chronologically) contains postcards depicting National Park Kingsley Plantation on Fort George Island. ","Series 33- Library Buildings (arranged chronologically) contains postcards depicting the exteriors of Jacksonville area public library buildings.","Series 34- Marineland, Florida (arranged chronologically) contains postcards depicting aerial views of Marineland Studios, dolphins, and businesses at the historic tourist attraction. ","Series 35- Military Bases (arranged chronologically) contains photographic postcards depicting Camp Foster, founded as a work camp during the Great Depression, Camp Blanding Army Camp, and Camp Joseph E. Johnston.","Series 36- Mining (arranged chronologically) contains postcards depicting phosphate mining in Florida. ","Series 37- Monuments (arranged chronologically) contains postcards depicting monuments in the Jacksonville area.","Series 38- Motels (arranged chronologically) contains postcards depicting mid-20th century tourist motels in the Jacksonville area along U.S. Highway 1.","Series 39- Museums (arranged chronologically) contains postcards depicting artwork from the collections of the Cummer Museum in the Riverside neighborhood of Jacksonville, Florida. ","Series 40- Naval Air Station; Jacksonville, Florida (arranged chronologically) contains postcards depicting structures at Mayport, Cecil Field, and Jacksonville Naval Air stations. ","Series 41- Neptune Beach, Florida (arranged chronologically) contains postcards depicting scenes of beach front at Neptune Beach.","Series 42- Orange Park, Florida (arranged chronologically) contains postcards depicting structures at Moosehaven Retirement Community located in Orange Park, Florida on the St. Johns River. ","Series 43- Oriental Gardens; Jacksonville, Florida (arranged chronologically) contains postcards depicting scenes from the former tourist attraction located on San Jose Boulevard.","Series 44- Parks (arranged chronologically) contains postcards depicting historic images of parks in various Jacksonville neighborhoods, including Riverside and Springfield parks. ","Series 45- Persons (arranged chronologically) contains photographic postcards depicting portraits of visitors to Jacksonville. ","Series 46- Ponte Vedra Beach, Florida (arranged chronologically) contains postcards depicting views of structures on the Ponte Vedra Inn and Club.","Series 47- Post Office Building (arranged chronologically) contains postcards depicting early 20th century Federal Post Office in downtown Jacksonville. ","Series 48- Public Buildings (arranged chronologically) contains postcards depicting various municipal buildings including the original Duval County Courthouse, The Armory, and the Civic Auditorium of Jacksonville. ","Series 49- Restaurants (arranged chronologically) contains postcards depicting Jacksonville area restaurants.","Series 50- St. Augustine, Florida (arranged chronologically) contains postcards depicting businesses, tourist attractions, and historic sites in St. Augustine, Florida","Series 51- St. Johns River, Florida (arranged chronologically) contains postcards depicting scenes from the St. Johns River, ","Series 52- Sanford, Florida (arranged chronologically) contains postcards depicting a steamer ship in Sanford, Florida.","Series 53- Schools (arranged chronologically) contains postcards depicting school buildings in the Jacksonville area including Central Grammar School, Duval High School, Edward Waters College.","Series 54- Silver Springs, Florida (arranged chronologically) contains postcards depicting a scene of glass-bottom boats at the springs. ","Series 55- Souvenir Postcard Booklets (arranged chronologically) contains multi-postcard booklets depicting scenes from Northeast Florida.","Series 56- Streets (arranged chronologically) contains postcards depicting street views in downtown Jacksonville, and the Riverside and Springfield neighborhoods. ","Series 57- Theaters (arranged chronologically) contains postcards depicting the Palace and New Palace theaters.","Series 58- Trailer Camps (arranged chronologically) contains postcards depicting scenes of tourist trailer campgrounds near Jacksonville. ","Series 59- Trees (arranged chronologically) contains postcards depicting various species of trees native to Northeast Florida and the famous Treaty Oak live oak tree located in Jesse Ball duPont Park. ","Series 60- Turpentine Industry (arranged chronologically) contains postcards depicting scenes of turpentine camps in Northeast Florida.","Series 61- Union Station (arranged chronologically) contains postcards depicting various scenes of the historic Union Station in Downtown Jacksonville, now the Prime F. Osborn III Convention Center.","Series 62- Universities and Colleges (arranged chronologically) contains postcards depicting Jacksonville University, University of North Florida, and Edward Waters College campuses. ","Series 63- Viaducts/Trains (arranged chronologically) contains postcards depicting railroad viaducts and close-up depictions of train engines. ","Series 64- Waterfronts (arranged chronologically) contains postcards depicting various views of the Jacksonville skyline as seen from the St. Johns River. ","Series 65- Waterworks; Jacksonville, Florida (arranged chronologically) contains postcards depicting the historic waterworks located in the Springfield neighborhood of Jacksonville. ","Series 66- Zoos (arranged chronologically) contains postcards depicting views from the Jacksonville Zoo during the early and mid-20th century. ","Series 67- Sensitive Content (arranged chronologically) contains postcards depicting content that may be harmful or distressing to viewers. These items are available to review in person only.","Materials in the collection may be subject to copyright and are to be used for private study, scholarship, or research in accordance with the copyright law of the United States (Title 17, United States Code). Use of reproductions of copyrighted works in excess of \" fair use,\" may result in the user's liability for copyright infringement and be subject to the civil and criminal penalties of federal law. Visit the United States Copyright Office's website at http://www.copyright.gov/ for further information","UNF Library Special Collections and University Archives","English"],"unitid_tesim":["2024.001","/repositories/3/resources/82"],"normalized_date_ssm":["1858-2019"],"normalized_title_ssm":["Northeast Florida Regional Postcard Collection, 1858-2019"],"collection_title_tesim":["Northeast Florida Regional Postcard Collection, 1858-2019"],"collection_ssim":["Northeast Florida Regional Postcard Collection, 1858-2019"],"repository_ssm":["UNF Library Special Collections and University Archives"],"repository_ssim":["UNF Library Special Collections and University Archives"],"access_terms_ssm":["Materials in the collection may be subject to copyright and are to be used for private study, scholarship, or research in accordance with the copyright law of the United States (Title 17, United States Code). Use of reproductions of copyrighted works in excess of \" fair use,\" may result in the user's liability for copyright infringement and be subject to the civil and criminal penalties of federal law. Visit the United States Copyright Office's website at http://www.copyright.gov/ for further information"],"acqinfo_ssim":["The collection was acquired through donation."],"has_online_content_ssim":["false"],"extent_ssm":["1.92 Linear Feet"],"extent_tesim":["1.92 Linear Feet"],"date_range_isim":[1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017,2018,2019],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research by appointment only. Please contact lib-special@unf.edu to schedule an appointment.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research by appointment only. Please contact lib-special@unf.edu to schedule an appointment."],"bioghist_html_tesm":["\u003cp\u003e\tIn the United States, the traditional picture postcard rose to popularity in the early 20th century. Postcard history is often divided into eight distinct \"eras\" beginning in the 1850s and continuing through the \"Golden Age of Postcards\" beginning around 1905 and lasting through 1915. In this golden age, millions of cards were printed and sold throughout the entire U.S. and collecting cards became a popular hobby. The Northeast Florida Regional Postcard Collection contains examples from many of the documented eras, including photographic cards popularized in the nineteen teens and twenties. \u003c/p\u003e\n","\u003cp\u003e\nAdvances in printing and photographic techniques along with faster shipping methods between the U.S. and Europe allowed for the mass production of brightly colored pictorial cards to be quickly manufactured and distributed to sellers. In addition to the printers in major U.S. cities, a network of publishers and photographers allowed many local businesses in small towns across the U.S. to commission postcards of local \"views\" that were cheaply printed in Germany. Many images of small-town life, including municipal architecture, private residences, and street scenes were preserved and are a useful tool for local historians and researchers. These views act as a \"visual record of a town\" and help develop a fuller understanding of the locations represented in the postcards. Additionally, postcards depicted natural disasters, fires, local amusements, and tourist attractions and were important to the souvenir trade of the time.  \u003c/p\u003e\n","\u003cp\u003e\nAt the height of the industry's popularity, publishers would often share or even steal negatives to create their own postcards and often would change or distort the negative to make them appear different from other printers. Misspellings were common and incorrectly captioned cards were also prevalent. The Northeast Florida Regional Postcard collection has several examples of this business tactic and many examples of misspellings in the captions or titles on the cards. \u003c/p\u003e\n","\u003cp\u003e\nEnthusiasm for postcard collecting began to wane around 1912 and ended with the start of World War I. Even though the initial craze for postcards diminished, they are still produced and continue to be a useful visual record for researchers and historians of the late 19th and early 20th centuries. The Northeast Florida Regional Postcard Collection supports many of our Florida ephemera or Floridiana collections and is a great resource for the visual history of Jacksonville, St. Augustine, and the other towns of Northeast Florida. \u003c/p\u003e\n","\u003cp\u003eSources:\n\u003cextref href=\"https://www.nysl.nysed.gov/msscfa/qc16510ess.htm\"\u003eNew York State Library Postcard Collection-Appendix C\u003c/extref\u003e\u003c/p\u003e\n","\u003cp\u003e\u003cextref href=\"https://siarchives.si.edu/history/featured-topics/postcard/postcard-history\"\u003eGreetings from the Smithsonian: A Postcard History\u003c/extref\u003e\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["\tIn the United States, the traditional picture postcard rose to popularity in the early 20th century. Postcard history is often divided into eight distinct \"eras\" beginning in the 1850s and continuing through the \"Golden Age of Postcards\" beginning around 1905 and lasting through 1915. In this golden age, millions of cards were printed and sold throughout the entire U.S. and collecting cards became a popular hobby. The Northeast Florida Regional Postcard Collection contains examples from many of the documented eras, including photographic cards popularized in the nineteen teens and twenties. ","\nAdvances in printing and photographic techniques along with faster shipping methods between the U.S. and Europe allowed for the mass production of brightly colored pictorial cards to be quickly manufactured and distributed to sellers. In addition to the printers in major U.S. cities, a network of publishers and photographers allowed many local businesses in small towns across the U.S. to commission postcards of local \"views\" that were cheaply printed in Germany. Many images of small-town life, including municipal architecture, private residences, and street scenes were preserved and are a useful tool for local historians and researchers. These views act as a \"visual record of a town\" and help develop a fuller understanding of the locations represented in the postcards. Additionally, postcards depicted natural disasters, fires, local amusements, and tourist attractions and were important to the souvenir trade of the time.  ","\nAt the height of the industry's popularity, publishers would often share or even steal negatives to create their own postcards and often would change or distort the negative to make them appear different from other printers. Misspellings were common and incorrectly captioned cards were also prevalent. The Northeast Florida Regional Postcard collection has several examples of this business tactic and many examples of misspellings in the captions or titles on the cards. ","\nEnthusiasm for postcard collecting began to wane around 1912 and ended with the start of World War I. Even though the initial craze for postcards diminished, they are still produced and continue to be a useful visual record for researchers and historians of the late 19th and early 20th centuries. The Northeast Florida Regional Postcard Collection supports many of our Florida ephemera or Floridiana collections and is a great resource for the visual history of Jacksonville, St. Augustine, and the other towns of Northeast Florida. ","Sources:\n New York State Library Postcard Collection-Appendix C","Greetings from the Smithsonian: A Postcard History"],"prefercite_html_tesm":["\u003cp\u003eNortheast Florida Regional Postcard Collection, Thomas G. Carpenter Library, University of North Florida, Jacksonville, Florida.\u003c/p\u003e"],"prefercite_tesim":["Northeast Florida Regional Postcard Collection, Thomas G. Carpenter Library, University of North Florida, Jacksonville, Florida."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains postcards related to Northeast Florida's agricultural, shipping, manufacturing, and tourism industries and is part of a larger ephemera collection related to region. The collection was donated over several years by UNF library staff. Postcards range in date from the late 19th century through the late 20th century, with the bulk dates falling between 1900 and 1950. The collection is arranged alphabetically by series and chronologically within each series. \nSeries in this collection include the following:\u003c/p\u003e\n","\u003cp\u003eSeries 1- Advertising Cards (arranged chronologically) contains business advertisement cards from Northeast Florida business and organizations.\u003c/p\u003e\n","\u003cp\u003eSeries 2- Agriculture (arranged chronologically) contains postcards depicting the agricultural industry in Northeast Florida\u003c/p\u003e\n","\u003cp\u003eSeries 3- Airports (arranged chronologically) contains postcards depicting Jacksonville International Airport and local municipal airports in Northeast Florida.\u003c/p\u003e\n","\u003cp\u003eSeries 4- Alligator Farm; Jacksonville, Florida (arranged chronologically) contains postcards depicting scenes from the Alligator farm, an early 20th century tourist attraction in Jacksonville, Florida.\u003c/p\u003e\n","\u003cp\u003eSeries 5- Atlantic Beach, Florida (arranged chronologically) contains postcards depicting panoramic views of Atlantic Beach, local hotels, and other tourist attractions.\u003c/p\u003e\n","\u003cp\u003eSeries 6- Atlantic Intracoastal Waterway (arranged chronologically) contains postcards depicting steamer ships owned by the Clyde Line, commercial shipping docks, and views of the intracoastal waterway.\u003c/p\u003e\n","\u003cp\u003eSeries 7- Bank Buildings (arranged chronologically) contains postcards depicting the Florida National Bank, Atlantic National Bank, Barnett First National Bank, and other local Northeast Florida Bank buildings.\u003c/p\u003e\n","\u003cp\u003eSeries 8- Bridges (arranged chronologically) contains postcards depicting local Jacksonville, Florida bridges, including the Fuller Warren Bridge, Main Street Bridge, Matthews Bridge, Napolean Bonaparte Broward Bridge, and Hart Bridge.\u003c/p\u003e\n","\u003cp\u003eSeries 9- Buildings (arranged chronologically) contains postcards depicting buildings in downtown Jacksonville, including structures of architectural significance like the St. James Building and the Shriners Temple.\u003c/p\u003e\n","\u003cp\u003eSeries 10- Church Buildings (arranged chronologically) contains postcards depicting churches of different denominations, including Catholic, Baptist, Methodist, and Episcopal, in the Northeast Florida area.\u003c/p\u003e\n","\u003cp\u003eSeries 11- Clubs (arranged chronologically) contains postcards depicting Jacksonville area athletic and social clubs. Examples include the Seminole Club, Fort George Club, Masonic Temple, and San Jose Golf Club.\u003c/p\u003e\n","\u003cp\u003eSeries 12- Cumberland Island, Georgia (arranged chronologically) contains postcards depicting Thomas M. Carnegie's home, Dungeness. \u003c/p\u003e\n","\u003cp\u003eSeries 13- Dixieland Park; Jacksonville, Florida (arranged chronologically) contains postcards depicting early 20th century tourist attraction on the Southbank of Jacksonville. \u003c/p\u003e\n","\u003cp\u003eSeries 14- Docks and Shipping (arranged chronologically) contains postcards depicting scenes of commercial shipping docks and steamer ships on the St Johns River in downtown Jacksonville. \u003c/p\u003e\n","\u003cp\u003eSeries 15- Dwellings (arranged chronologically) contains postcards depicting private residences in the Riverside, Springfield, Mandarin, and Ortega neighborhoods of Jacksonville. \u003c/p\u003e\n","\u003cp\u003eSeries 16- Epping Forest; Jacksonville, Florida (arranged chronologically) contains postcards depicting the mansion of Alfred I. du Pont, now the Epping Forest Yacht Club.\u003c/p\u003e\n","\u003cp\u003eSeries 17- Eustis, Florida (arranged chronologically) contains postcards depicting photographic postcard taken in Eustis, Florida.\u003c/p\u003e\n","\u003cp\u003eSeries 18- Fernandina Beach, Florida (arranged chronologically) contains postcards depicting businesses, municipal buildings, hotels, private residences, and beach scenes.\u003c/p\u003e\n","\u003cp\u003eSeries 19- Florida Ostrich Farm; Jacksonville, Florida (arranged chronologically) contains postcards depicting tourist attraction popular in the early 20th century, with scenes of the farm with birds and ostriches racing. \u003c/p\u003e\n","\u003cp\u003eSeries 20- Fort Clinch State Park, Florida (arranged chronologically) contains postcards depicting structures and ruins of the Civil War fort near Amelia Island and Fernandina Beach.\u003c/p\u003e\n","\u003cp\u003eSeries 21- Friendship Park; Jacksonville, Florida (arranged chronologically) contains postcards depicting Friendship fountain and the downtown Jacksonville skyline across from the park located on the Southbank. \u003c/p\u003e\n","\u003cp\u003eSeries 22- Gardens (arranged chronologically) contains postcards depicting scenes of plants native to Northeast Florida and Cummer Museum and Gardens. \u003c/p\u003e\n","\u003cp\u003eSeries 23- General (arranged chronologically) contains postcards depicting a variety of scenes of locations in Jacksonville, cards printed by local printer H\u0026amp;WB Drew Company, and cards addressed to Jacksonville addresses.\u003c/p\u003e\n","\u003cp\u003eSeries 24- Green Cove Springs, Florida (arranged chronologically) contains postcards depicting Springs, the bathing pavilion, and the Qui-Si-Sana Hotel and Health Spa. \u003c/p\u003e\n","\u003cp\u003eSeries 25- Hemming Park; Jacksonville, Florida (arranged chronologically) contains postcards depicting the grounds and businesses surrounding the park, known today as James Weldon Johnson Park. \u003c/p\u003e\n","\u003cp\u003eSeries 26- Highways (arranged chronologically) contains postcards depicting several multi-lane highways and expressways in Jacksonville. \u003c/p\u003e\n","\u003cp\u003eSeries 27- Hilliard, Florida (arranged chronologically) contains postcards depicting a hotel located in Hilliard, Florida near the Florida/Georgia Border. \u003c/p\u003e\n","\u003cp\u003eSeries 28- Hospitals (arranged chronologically) contains postcards depicting Jacksonville area hospitals, including St. Vincent's Hospital, De Soto Sanatorium, St. Luke's Hospital, and Brewster Hospital. \u003c/p\u003e\n","\u003cp\u003eSeries 29- Hotels (arranged chronologically) contains postcards depicting Jacksonville area hotels, including Hotel Burbridge, Hotel Roosevelt, Aragon Hotel, and Windsor Hotel. \u003c/p\u003e\n","\u003cp\u003eSeries 30- Jacksonville Beach, Florida (arranged chronologically) contains postcards depicting scenes of local businesses, hotels, restaurants, and beaches.\u003c/p\u003e\n","\u003cp\u003eSeries 31- Keystone Heights, Florida (arranged chronologically) contains postcards depicting a hotel in Keystone Heights, Florida. \u003c/p\u003e\n","\u003cp\u003eSeries 32- Kingsley Plantation; Fort George Island, Florida (arranged chronologically) contains postcards depicting National Park Kingsley Plantation on Fort George Island. \u003c/p\u003e\n","\u003cp\u003eSeries 33- Library Buildings (arranged chronologically) contains postcards depicting the exteriors of Jacksonville area public library buildings.\u003c/p\u003e\n","\u003cp\u003eSeries 34- Marineland, Florida (arranged chronologically) contains postcards depicting aerial views of Marineland Studios, dolphins, and businesses at the historic tourist attraction. \u003c/p\u003e\n","\u003cp\u003eSeries 35- Military Bases (arranged chronologically) contains photographic postcards depicting Camp Foster, founded as a work camp during the Great Depression, Camp Blanding Army Camp, and Camp Joseph E. Johnston.\u003c/p\u003e\n","\u003cp\u003eSeries 36- Mining (arranged chronologically) contains postcards depicting phosphate mining in Florida. \u003c/p\u003e\n","\u003cp\u003eSeries 37- Monuments (arranged chronologically) contains postcards depicting monuments in the Jacksonville area.\u003c/p\u003e\n","\u003cp\u003eSeries 38- Motels (arranged chronologically) contains postcards depicting mid-20th century tourist motels in the Jacksonville area along U.S. Highway 1.\u003c/p\u003e\n","\u003cp\u003eSeries 39- Museums (arranged chronologically) contains postcards depicting artwork from the collections of the Cummer Museum in the Riverside neighborhood of Jacksonville, Florida. \u003c/p\u003e\n","\u003cp\u003eSeries 40- Naval Air Station; Jacksonville, Florida (arranged chronologically) contains postcards depicting structures at Mayport, Cecil Field, and Jacksonville Naval Air stations. \u003c/p\u003e\n","\u003cp\u003eSeries 41- Neptune Beach, Florida (arranged chronologically) contains postcards depicting scenes of beach front at Neptune Beach.\u003c/p\u003e\n","\u003cp\u003eSeries 42- Orange Park, Florida (arranged chronologically) contains postcards depicting structures at Moosehaven Retirement Community located in Orange Park, Florida on the St. Johns River. \u003c/p\u003e\n","\u003cp\u003eSeries 43- Oriental Gardens; Jacksonville, Florida (arranged chronologically) contains postcards depicting scenes from the former tourist attraction located on San Jose Boulevard.\u003c/p\u003e\n","\u003cp\u003eSeries 44- Parks (arranged chronologically) contains postcards depicting historic images of parks in various Jacksonville neighborhoods, including Riverside and Springfield parks. \u003c/p\u003e\n","\u003cp\u003eSeries 45- Persons (arranged chronologically) contains photographic postcards depicting portraits of visitors to Jacksonville. \u003c/p\u003e\n","\u003cp\u003eSeries 46- Ponte Vedra Beach, Florida (arranged chronologically) contains postcards depicting views of structures on the Ponte Vedra Inn and Club.\u003c/p\u003e\n","\u003cp\u003eSeries 47- Post Office Building (arranged chronologically) contains postcards depicting early 20th century Federal Post Office in downtown Jacksonville. \u003c/p\u003e\n","\u003cp\u003eSeries 48- Public Buildings (arranged chronologically) contains postcards depicting various municipal buildings including the original Duval County Courthouse, The Armory, and the Civic Auditorium of Jacksonville. \u003c/p\u003e\n","\u003cp\u003eSeries 49- Restaurants (arranged chronologically) contains postcards depicting Jacksonville area restaurants.\u003c/p\u003e\n","\u003cp\u003eSeries 50- St. Augustine, Florida (arranged chronologically) contains postcards depicting businesses, tourist attractions, and historic sites in St. Augustine, Florida\u003c/p\u003e\n","\u003cp\u003eSeries 51- St. Johns River, Florida (arranged chronologically) contains postcards depicting scenes from the St. Johns River, \u003c/p\u003e\n","\u003cp\u003eSeries 52- Sanford, Florida (arranged chronologically) contains postcards depicting a steamer ship in Sanford, Florida.\u003c/p\u003e\n","\u003cp\u003eSeries 53- Schools (arranged chronologically) contains postcards depicting school buildings in the Jacksonville area including Central Grammar School, Duval High School, Edward Waters College.\u003c/p\u003e\n","\u003cp\u003eSeries 54- Silver Springs, Florida (arranged chronologically) contains postcards depicting a scene of glass-bottom boats at the springs. \u003c/p\u003e\n","\u003cp\u003eSeries 55- Souvenir Postcard Booklets (arranged chronologically) contains multi-postcard booklets depicting scenes from Northeast Florida.\u003c/p\u003e\n","\u003cp\u003eSeries 56- Streets (arranged chronologically) contains postcards depicting street views in downtown Jacksonville, and the Riverside and Springfield neighborhoods. \u003c/p\u003e\n","\u003cp\u003eSeries 57- Theaters (arranged chronologically) contains postcards depicting the Palace and New Palace theaters.\u003c/p\u003e\n","\u003cp\u003eSeries 58- Trailer Camps (arranged chronologically) contains postcards depicting scenes of tourist trailer campgrounds near Jacksonville. \u003c/p\u003e\n","\u003cp\u003eSeries 59- Trees (arranged chronologically) contains postcards depicting various species of trees native to Northeast Florida and the famous Treaty Oak live oak tree located in Jesse Ball duPont Park. \u003c/p\u003e\n","\u003cp\u003eSeries 60- Turpentine Industry (arranged chronologically) contains postcards depicting scenes of turpentine camps in Northeast Florida.\u003c/p\u003e\n","\u003cp\u003eSeries 61- Union Station (arranged chronologically) contains postcards depicting various scenes of the historic Union Station in Downtown Jacksonville, now the Prime F. Osborn III Convention Center.\u003c/p\u003e\n","\u003cp\u003eSeries 62- Universities and Colleges (arranged chronologically) contains postcards depicting Jacksonville University, University of North Florida, and Edward Waters College campuses. \u003c/p\u003e\n","\u003cp\u003eSeries 63- Viaducts/Trains (arranged chronologically) contains postcards depicting railroad viaducts and close-up depictions of train engines. \u003c/p\u003e\n","\u003cp\u003eSeries 64- Waterfronts (arranged chronologically) contains postcards depicting various views of the Jacksonville skyline as seen from the St. Johns River. \u003c/p\u003e\n","\u003cp\u003eSeries 65- Waterworks; Jacksonville, Florida (arranged chronologically) contains postcards depicting the historic waterworks located in the Springfield neighborhood of Jacksonville. \u003c/p\u003e\n","\u003cp\u003eSeries 66- Zoos (arranged chronologically) contains postcards depicting views from the Jacksonville Zoo during the early and mid-20th century. \u003c/p\u003e\n","\u003cp\u003eSeries 67- Sensitive Content (arranged chronologically) contains postcards depicting content that may be harmful or distressing to viewers. These items are available to review in person only.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection contains postcards related to Northeast Florida's agricultural, shipping, manufacturing, and tourism industries and is part of a larger ephemera collection related to region. The collection was donated over several years by UNF library staff. Postcards range in date from the late 19th century through the late 20th century, with the bulk dates falling between 1900 and 1950. The collection is arranged alphabetically by series and chronologically within each series. \nSeries in this collection include the following:","Series 1- Advertising Cards (arranged chronologically) contains business advertisement cards from Northeast Florida business and organizations.","Series 2- Agriculture (arranged chronologically) contains postcards depicting the agricultural industry in Northeast Florida","Series 3- Airports (arranged chronologically) contains postcards depicting Jacksonville International Airport and local municipal airports in Northeast Florida.","Series 4- Alligator Farm; Jacksonville, Florida (arranged chronologically) contains postcards depicting scenes from the Alligator farm, an early 20th century tourist attraction in Jacksonville, Florida.","Series 5- Atlantic Beach, Florida (arranged chronologically) contains postcards depicting panoramic views of Atlantic Beach, local hotels, and other tourist attractions.","Series 6- Atlantic Intracoastal Waterway (arranged chronologically) contains postcards depicting steamer ships owned by the Clyde Line, commercial shipping docks, and views of the intracoastal waterway.","Series 7- Bank Buildings (arranged chronologically) contains postcards depicting the Florida National Bank, Atlantic National Bank, Barnett First National Bank, and other local Northeast Florida Bank buildings.","Series 8- Bridges (arranged chronologically) contains postcards depicting local Jacksonville, Florida bridges, including the Fuller Warren Bridge, Main Street Bridge, Matthews Bridge, Napolean Bonaparte Broward Bridge, and Hart Bridge.","Series 9- Buildings (arranged chronologically) contains postcards depicting buildings in downtown Jacksonville, including structures of architectural significance like the St. James Building and the Shriners Temple.","Series 10- Church Buildings (arranged chronologically) contains postcards depicting churches of different denominations, including Catholic, Baptist, Methodist, and Episcopal, in the Northeast Florida area.","Series 11- Clubs (arranged chronologically) contains postcards depicting Jacksonville area athletic and social clubs. Examples include the Seminole Club, Fort George Club, Masonic Temple, and San Jose Golf Club.","Series 12- Cumberland Island, Georgia (arranged chronologically) contains postcards depicting Thomas M. Carnegie's home, Dungeness. ","Series 13- Dixieland Park; Jacksonville, Florida (arranged chronologically) contains postcards depicting early 20th century tourist attraction on the Southbank of Jacksonville. ","Series 14- Docks and Shipping (arranged chronologically) contains postcards depicting scenes of commercial shipping docks and steamer ships on the St Johns River in downtown Jacksonville. ","Series 15- Dwellings (arranged chronologically) contains postcards depicting private residences in the Riverside, Springfield, Mandarin, and Ortega neighborhoods of Jacksonville. ","Series 16- Epping Forest; Jacksonville, Florida (arranged chronologically) contains postcards depicting the mansion of Alfred I. du Pont, now the Epping Forest Yacht Club.","Series 17- Eustis, Florida (arranged chronologically) contains postcards depicting photographic postcard taken in Eustis, Florida.","Series 18- Fernandina Beach, Florida (arranged chronologically) contains postcards depicting businesses, municipal buildings, hotels, private residences, and beach scenes.","Series 19- Florida Ostrich Farm; Jacksonville, Florida (arranged chronologically) contains postcards depicting tourist attraction popular in the early 20th century, with scenes of the farm with birds and ostriches racing. ","Series 20- Fort Clinch State Park, Florida (arranged chronologically) contains postcards depicting structures and ruins of the Civil War fort near Amelia Island and Fernandina Beach.","Series 21- Friendship Park; Jacksonville, Florida (arranged chronologically) contains postcards depicting Friendship fountain and the downtown Jacksonville skyline across from the park located on the Southbank. ","Series 22- Gardens (arranged chronologically) contains postcards depicting scenes of plants native to Northeast Florida and Cummer Museum and Gardens. ","Series 23- General (arranged chronologically) contains postcards depicting a variety of scenes of locations in Jacksonville, cards printed by local printer H\u0026WB Drew Company, and cards addressed to Jacksonville addresses.","Series 24- Green Cove Springs, Florida (arranged chronologically) contains postcards depicting Springs, the bathing pavilion, and the Qui-Si-Sana Hotel and Health Spa. ","Series 25- Hemming Park; Jacksonville, Florida (arranged chronologically) contains postcards depicting the grounds and businesses surrounding the park, known today as James Weldon Johnson Park. ","Series 26- Highways (arranged chronologically) contains postcards depicting several multi-lane highways and expressways in Jacksonville. ","Series 27- Hilliard, Florida (arranged chronologically) contains postcards depicting a hotel located in Hilliard, Florida near the Florida/Georgia Border. ","Series 28- Hospitals (arranged chronologically) contains postcards depicting Jacksonville area hospitals, including St. Vincent's Hospital, De Soto Sanatorium, St. Luke's Hospital, and Brewster Hospital. ","Series 29- Hotels (arranged chronologically) contains postcards depicting Jacksonville area hotels, including Hotel Burbridge, Hotel Roosevelt, Aragon Hotel, and Windsor Hotel. ","Series 30- Jacksonville Beach, Florida (arranged chronologically) contains postcards depicting scenes of local businesses, hotels, restaurants, and beaches.","Series 31- Keystone Heights, Florida (arranged chronologically) contains postcards depicting a hotel in Keystone Heights, Florida. ","Series 32- Kingsley Plantation; Fort George Island, Florida (arranged chronologically) contains postcards depicting National Park Kingsley Plantation on Fort George Island. ","Series 33- Library Buildings (arranged chronologically) contains postcards depicting the exteriors of Jacksonville area public library buildings.","Series 34- Marineland, Florida (arranged chronologically) contains postcards depicting aerial views of Marineland Studios, dolphins, and businesses at the historic tourist attraction. ","Series 35- Military Bases (arranged chronologically) contains photographic postcards depicting Camp Foster, founded as a work camp during the Great Depression, Camp Blanding Army Camp, and Camp Joseph E. Johnston.","Series 36- Mining (arranged chronologically) contains postcards depicting phosphate mining in Florida. ","Series 37- Monuments (arranged chronologically) contains postcards depicting monuments in the Jacksonville area.","Series 38- Motels (arranged chronologically) contains postcards depicting mid-20th century tourist motels in the Jacksonville area along U.S. Highway 1.","Series 39- Museums (arranged chronologically) contains postcards depicting artwork from the collections of the Cummer Museum in the Riverside neighborhood of Jacksonville, Florida. ","Series 40- Naval Air Station; Jacksonville, Florida (arranged chronologically) contains postcards depicting structures at Mayport, Cecil Field, and Jacksonville Naval Air stations. ","Series 41- Neptune Beach, Florida (arranged chronologically) contains postcards depicting scenes of beach front at Neptune Beach.","Series 42- Orange Park, Florida (arranged chronologically) contains postcards depicting structures at Moosehaven Retirement Community located in Orange Park, Florida on the St. Johns River. ","Series 43- Oriental Gardens; Jacksonville, Florida (arranged chronologically) contains postcards depicting scenes from the former tourist attraction located on San Jose Boulevard.","Series 44- Parks (arranged chronologically) contains postcards depicting historic images of parks in various Jacksonville neighborhoods, including Riverside and Springfield parks. ","Series 45- Persons (arranged chronologically) contains photographic postcards depicting portraits of visitors to Jacksonville. ","Series 46- Ponte Vedra Beach, Florida (arranged chronologically) contains postcards depicting views of structures on the Ponte Vedra Inn and Club.","Series 47- Post Office Building (arranged chronologically) contains postcards depicting early 20th century Federal Post Office in downtown Jacksonville. ","Series 48- Public Buildings (arranged chronologically) contains postcards depicting various municipal buildings including the original Duval County Courthouse, The Armory, and the Civic Auditorium of Jacksonville. ","Series 49- Restaurants (arranged chronologically) contains postcards depicting Jacksonville area restaurants.","Series 50- St. Augustine, Florida (arranged chronologically) contains postcards depicting businesses, tourist attractions, and historic sites in St. Augustine, Florida","Series 51- St. Johns River, Florida (arranged chronologically) contains postcards depicting scenes from the St. Johns River, ","Series 52- Sanford, Florida (arranged chronologically) contains postcards depicting a steamer ship in Sanford, Florida.","Series 53- Schools (arranged chronologically) contains postcards depicting school buildings in the Jacksonville area including Central Grammar School, Duval High School, Edward Waters College.","Series 54- Silver Springs, Florida (arranged chronologically) contains postcards depicting a scene of glass-bottom boats at the springs. ","Series 55- Souvenir Postcard Booklets (arranged chronologically) contains multi-postcard booklets depicting scenes from Northeast Florida.","Series 56- Streets (arranged chronologically) contains postcards depicting street views in downtown Jacksonville, and the Riverside and Springfield neighborhoods. ","Series 57- Theaters (arranged chronologically) contains postcards depicting the Palace and New Palace theaters.","Series 58- Trailer Camps (arranged chronologically) contains postcards depicting scenes of tourist trailer campgrounds near Jacksonville. ","Series 59- Trees (arranged chronologically) contains postcards depicting various species of trees native to Northeast Florida and the famous Treaty Oak live oak tree located in Jesse Ball duPont Park. ","Series 60- Turpentine Industry (arranged chronologically) contains postcards depicting scenes of turpentine camps in Northeast Florida.","Series 61- Union Station (arranged chronologically) contains postcards depicting various scenes of the historic Union Station in Downtown Jacksonville, now the Prime F. Osborn III Convention Center.","Series 62- Universities and Colleges (arranged chronologically) contains postcards depicting Jacksonville University, University of North Florida, and Edward Waters College campuses. ","Series 63- Viaducts/Trains (arranged chronologically) contains postcards depicting railroad viaducts and close-up depictions of train engines. ","Series 64- Waterfronts (arranged chronologically) contains postcards depicting various views of the Jacksonville skyline as seen from the St. Johns River. ","Series 65- Waterworks; Jacksonville, Florida (arranged chronologically) contains postcards depicting the historic waterworks located in the Springfield neighborhood of Jacksonville. ","Series 66- Zoos (arranged chronologically) contains postcards depicting views from the Jacksonville Zoo during the early and mid-20th century. ","Series 67- Sensitive Content (arranged chronologically) contains postcards depicting content that may be harmful or distressing to viewers. These items are available to review in person only."],"userestrict_html_tesm":["\u003cp\u003eMaterials in the collection may be subject to copyright and are to be used for private study, scholarship, or research in accordance with the copyright law of the United States (Title 17, United States Code). Use of reproductions of copyrighted works in excess of \" fair use,\" may result in the user's liability for copyright infringement and be subject to the civil and criminal penalties of federal law. Visit the United States Copyright Office's website at http://www.copyright.gov/ for further information\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Materials in the collection may be subject to copyright and are to be used for private study, scholarship, or research in accordance with the copyright law of the United States (Title 17, United States Code). Use of reproductions of copyrighted works in excess of \" fair use,\" may result in the user's liability for copyright infringement and be subject to the civil and criminal penalties of federal law. Visit the United States Copyright Office's website at http://www.copyright.gov/ for further information"],"names_ssim":["UNF Library Special Collections and University Archives"],"corpname_ssim":["UNF Library Special Collections and University Archives"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":67,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1872853597225484288,"_root_":"45807c67f367973431520ee3","timestamp":"2026-08-07T08:46:14.061Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/45807c67f367973431520ee3_aspace_2a0505a75a877ef7c3067cd34f1ef7da"}},{"id":"494d175c32d55745f7fddbc7_aspace_4722","type":"File","attributes":{"title":"Churches, 1920-1953, Undated","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/494d175c32d55745f7fddbc7_aspace_4722#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_4722","ref_ssm":["aspace_4722","aspace_4722"],"id":"494d175c32d55745f7fddbc7_aspace_4722","title_filing_ssi":"Churches","title_ssm":["Churches"],"title_tesim":["Churches"],"unitdate_inclusive_ssm":["1920-1953, Undated"],"normalized_date_ssm":["1920-1953, Undated"],"normalized_title_ssm":["Churches, 1920-1953, Undated"],"text":["Churches, 1920-1953, Undated","Florida Image Collection, 1884-2002","Photo Postcards, 1898-1988, Undated","/repositories/4/archival_objects/11825","box 3"],"component_level_isim":[2],"parent_ids_ssim":["494d175c32d55745f7fddbc7","494d175c32d55745f7fddbc7_aspace_4689"],"parent_unittitles_ssm":["Florida Image Collection, 1884-2002","Photo Postcards, 1898-1988, Undated"],"parent_unittitles_tesim":["Florida Image Collection, 1884-2002","Photo Postcards, 1898-1988, Undated"],"parent_levels_ssm":["collection","Series"],"unitid_ssm":["/repositories/4/archival_objects/11825"],"repository_ssim":["UCF Special Collections"],"collection_ssim":["Florida Image Collection, 1884-2002"],"has_online_content_ssim":["false"],"child_component_count_isi":20,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":413,"parent_access_restrict_tesm":["The entire collection is open for research."],"date_range_isim":[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],"containers_ssim":["box 3"],"_nest_path_":"/components#4/components#2","_nest_parent_":"494d175c32d55745f7fddbc7_aspace_4689","_root_":"494d175c32d55745f7fddbc7","_version_":1870858026892656640,"timestamp":"2026-07-16T08:07:29.876Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"494d175c32d55745f7fddbc7","title_ssm":["Florida Image Collection"],"title_tesim":["Florida Image Collection"],"ead_ssi":"494d175c32d55745f7fddbc7","unitdate_ssm":["1884-2002"],"unitdate_inclusive_ssm":["1884-2002"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC.067","/repositories/4/resources/58"],"text":["SC.067","/repositories/4/resources/58","Florida Image Collection, 1884-2002","Florida","photographs","The entire collection is open for research.","The Florida Image collection contains images and picture postcards obtained from other UCF Archives collections, as well as purchases and donations. The majority come from the The Thomas and Georgine Mickler Collection. The Mickler collection was partly purchased and donated to the University. Other photos within the collection originated in the Special Collections Vertical File. The Vertical File contains a variety of collected materials on University of Central Florida, local history, typography and book arts, and the West Indies, subjects relating to the collections held by Special Collections. Also included in the collection are images from the Children's Home Society of Florida collection.","Many of the images were previously included in the Thomas and Georgine Mickler Collection and the Florida Ephemera collection. Both of these collections are housed in the University of Central Florida Archives.","Collection processed by Alexandra Olson; finding aid created by Alexandra Olson.","The photographs and postcards were sleeved and placed in acid-free folders and boxes.","More photographs may be found in the papers of individual University Presidents, as well as the Univeristy Photograph Collection. All these materials may be accessed in the Special Collections Reading Room.","Generally, images of individuals arranged alphabetically begin each subseries followed by groups of people and ending with unidentified images. The collection includes postcard images of scenes and places in Florida. Many of the photographs were originally part of the Thomas and Georgine Mickler Collection. The photos are arranged by series according to the type of image. The prints are mostly black and white, but a few are in color. The photographs and postcards have been arranged in nine series by subject","\nSeries I: People, 1913-1987, Undated contains photographic prints of individuals and groups that have been arranged in subseries from identifiable people and families to albums and ending with individuals and groups. Images, in this series, like those of the Pope family are significant to Florida because Dick Pope was the creator of Cypress Gardens, Florida's first theme park. Images of the Roper family are important because of this family's link to the Florida Citrus Industry and the Winter Garden area.","\nSeries II: Places, 1903-1988, Undated holds photographs of places and localities from around Florida arranged alphabetically. Disney forms the first subseries, followed by the John F. Kennedy Space Center, general localities and ending with a colleciton of photographs of Orange Blossom Trail in South Orlando.","\nSeries III: Environment, 1899-1999, Undated contains images of native wildlife, plants of Florida, ending with photographs of hurricanes.","\nSeries IV: Miscellaneous Images, 2002, Undated contains photographs and images that do not fit within any other series, but are still important to the memory of Florida.","\nSeries V: Photo Postcards, 1898-1988, Undated holds postcards that have either a genuine photograph or a printed image on one side. The printed postcards are divided into subseries by subject. The nine subjects include: Churches, hotels, localities, native plants, native wildlife, people, tourism, transportation and miscellaneous.","\nSeries VI: Picture Books (Souvenir Albums), 1884-1969, Undated contains albums and postcard books with many different images of Florida. The series is arranged alphabetically by title of book, and spans from Railroads to Locales.","\nSeries VII: Caribbean Postcards, 1954, Undated contains postcards with different images of Carribbean life.","\nSeries VIII: Color Plates and Oversized Postcards, 1960, Undated holds all the oversized postcards from the collection as well as a collection of color plates. Plates are whole-sheet illustrations, printed separately from text. The images in this series cover a wide variety of Florida scenery and locales.","\nSeries IX: Negatives, Undated contains all the negatives of the collection.","The images document all aspects of Central Florida history including people, such as prominent people and families, places around Florida, Florida wildlife and plantlife, as well as, images from the Kennedy Space Center and Disney. The majority of the collection dates from about 1900-1960.","UCF Special Collections","Mickler, Thomas, 1912-1997","Mickler, Georgine, 1914-1998","English"],"unitid_tesim":["SC.067","/repositories/4/resources/58"],"normalized_date_ssm":["1884-2002"],"normalized_title_ssm":["Florida Image Collection, 1884-2002"],"collection_title_tesim":["Florida Image Collection, 1884-2002"],"collection_ssim":["Florida Image Collection, 1884-2002"],"repository_ssm":["UCF Special Collections"],"repository_ssim":["UCF Special Collections"],"geogname_ssm":["Florida"],"geogname_ssim":["Florida"],"creator_ssm":["Mickler, Thomas, 1912-1997","Mickler, Georgine, 1914-1998"],"creator_ssim":["Mickler, Thomas, 1912-1997","Mickler, Georgine, 1914-1998"],"creator_persname_ssim":["Mickler, Thomas, 1912-1997","Mickler, Georgine, 1914-1998"],"creators_ssim":["Mickler, Thomas, 1912-1997","Mickler, Georgine, 1914-1998"],"places_ssim":["Florida"],"acqinfo_ssim":["Photographs used in the collection were taken from the Thomas and Georgine Mickler Collection, the UCF Libraries, Special Collections vertical file,as well as, other purchases and acessions.","This collection was a mixture of purchased and donated from the Mickler Estate and other sources in 2006 (CFM2006_08)."],"access_subjects_ssim":["photographs"],"access_subjects_ssm":["photographs"],"has_online_content_ssim":["false"],"extent_ssm":["1.65 Linear Feet 4 Boxes, 1 Flat File"],"extent_tesim":["1.65 Linear Feet 4 Boxes, 1 Flat File"],"genreform_ssim":["photographs"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eThe entire collection is open for research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The entire collection is open for research."],"bioghist_html_tesm":["\u003cp\u003eThe Florida Image collection contains images and picture postcards obtained from other UCF Archives collections, as well as purchases and donations. The majority come from the The Thomas and Georgine Mickler Collection. The Mickler collection was partly purchased and donated to the University. Other photos within the collection originated in the Special Collections Vertical File. The Vertical File contains a variety of collected materials on University of Central Florida, local history, typography and book arts, and the West Indies, subjects relating to the collections held by Special Collections. Also included in the collection are images from the Children's Home Society of Florida collection.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["The Florida Image collection contains images and picture postcards obtained from other UCF Archives collections, as well as purchases and donations. The majority come from the The Thomas and Georgine Mickler Collection. The Mickler collection was partly purchased and donated to the University. Other photos within the collection originated in the Special Collections Vertical File. The Vertical File contains a variety of collected materials on University of Central Florida, local history, typography and book arts, and the West Indies, subjects relating to the collections held by Special Collections. Also included in the collection are images from the Children's Home Society of Florida collection."],"custodhist_html_tesm":["\u003cp\u003eMany of the images were previously included in the Thomas and Georgine Mickler Collection and the Florida Ephemera collection. Both of these collections are housed in the University of Central Florida Archives.\u003c/p\u003e"],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["Many of the images were previously included in the Thomas and Georgine Mickler Collection and the Florida Ephemera collection. Both of these collections are housed in the University of Central Florida Archives."],"prefercite_html_tesm":["\u003cp\u003eFlorida Image Collection, Special Collections and University Archives, University of Central Florida, Orlando, Florida.\u003c/p\u003e"],"prefercite_tesim":["Florida Image Collection, Special Collections and University Archives, University of Central Florida, Orlando, Florida."],"processinfo_html_tesm":["\u003cp\u003eCollection processed by Alexandra Olson; finding aid created by Alexandra Olson.\u003c/p\u003e","\u003cp\u003eThe photographs and postcards were sleeved and placed in acid-free folders and boxes.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Collection processed by Alexandra Olson; finding aid created by Alexandra Olson.","The photographs and postcards were sleeved and placed in acid-free folders and boxes."],"relatedmaterial_html_tesm":["\u003cp\u003eMore photographs may be found in the papers of individual University Presidents, as well as the Univeristy Photograph Collection. All these materials may be accessed in the Special Collections Reading Room.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["More photographs may be found in the papers of individual University Presidents, as well as the Univeristy Photograph Collection. All these materials may be accessed in the Special Collections Reading Room."],"scopecontent_html_tesm":["\u003cp\u003eGenerally, images of individuals arranged alphabetically begin each subseries followed by groups of people and ending with unidentified images. The collection includes postcard images of scenes and places in Florida. Many of the photographs were originally part of the Thomas and Georgine Mickler Collection. The photos are arranged by series according to the type of image. The prints are mostly black and white, but a few are in color. The photographs and postcards have been arranged in nine series by subject\u003c/p\u003e\n","\u003cp\u003e\nSeries I: People, 1913-1987, Undated contains photographic prints of individuals and groups that have been arranged in subseries from identifiable people and families to albums and ending with individuals and groups. Images, in this series, like those of the Pope family are significant to Florida because Dick Pope was the creator of Cypress Gardens, Florida's first theme park. Images of the Roper family are important because of this family's link to the Florida Citrus Industry and the Winter Garden area.\u003c/p\u003e\n","\u003cp\u003e\nSeries II: Places, 1903-1988, Undated holds photographs of places and localities from around Florida arranged alphabetically. Disney forms the first subseries, followed by the John F. Kennedy Space Center, general localities and ending with a colleciton of photographs of Orange Blossom Trail in South Orlando.\u003c/p\u003e\n","\u003cp\u003e\nSeries III: Environment, 1899-1999, Undated contains images of native wildlife, plants of Florida, ending with photographs of hurricanes.\u003c/p\u003e\n","\u003cp\u003e\nSeries IV: Miscellaneous Images, 2002, Undated contains photographs and images that do not fit within any other series, but are still important to the memory of Florida.\u003c/p\u003e\n","\u003cp\u003e\nSeries V: Photo Postcards, 1898-1988, Undated holds postcards that have either a genuine photograph or a printed image on one side. The printed postcards are divided into subseries by subject. The nine subjects include: Churches, hotels, localities, native plants, native wildlife, people, tourism, transportation and miscellaneous.\u003c/p\u003e\n","\u003cp\u003e\nSeries VI: Picture Books (Souvenir Albums), 1884-1969, Undated contains albums and postcard books with many different images of Florida. The series is arranged alphabetically by title of book, and spans from Railroads to Locales.\u003c/p\u003e\n","\u003cp\u003e\nSeries VII: Caribbean Postcards, 1954, Undated contains postcards with different images of Carribbean life.\u003c/p\u003e\n","\u003cp\u003e\nSeries VIII: Color Plates and Oversized Postcards, 1960, Undated holds all the oversized postcards from the collection as well as a collection of color plates. Plates are whole-sheet illustrations, printed separately from text. The images in this series cover a wide variety of Florida scenery and locales.\u003c/p\u003e\n","\u003cp\u003e\nSeries IX: Negatives, Undated contains all the negatives of the collection.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Generally, images of individuals arranged alphabetically begin each subseries followed by groups of people and ending with unidentified images. The collection includes postcard images of scenes and places in Florida. Many of the photographs were originally part of the Thomas and Georgine Mickler Collection. The photos are arranged by series according to the type of image. The prints are mostly black and white, but a few are in color. The photographs and postcards have been arranged in nine series by subject","\nSeries I: People, 1913-1987, Undated contains photographic prints of individuals and groups that have been arranged in subseries from identifiable people and families to albums and ending with individuals and groups. Images, in this series, like those of the Pope family are significant to Florida because Dick Pope was the creator of Cypress Gardens, Florida's first theme park. Images of the Roper family are important because of this family's link to the Florida Citrus Industry and the Winter Garden area.","\nSeries II: Places, 1903-1988, Undated holds photographs of places and localities from around Florida arranged alphabetically. Disney forms the first subseries, followed by the John F. Kennedy Space Center, general localities and ending with a colleciton of photographs of Orange Blossom Trail in South Orlando.","\nSeries III: Environment, 1899-1999, Undated contains images of native wildlife, plants of Florida, ending with photographs of hurricanes.","\nSeries IV: Miscellaneous Images, 2002, Undated contains photographs and images that do not fit within any other series, but are still important to the memory of Florida.","\nSeries V: Photo Postcards, 1898-1988, Undated holds postcards that have either a genuine photograph or a printed image on one side. The printed postcards are divided into subseries by subject. The nine subjects include: Churches, hotels, localities, native plants, native wildlife, people, tourism, transportation and miscellaneous.","\nSeries VI: Picture Books (Souvenir Albums), 1884-1969, Undated contains albums and postcard books with many different images of Florida. The series is arranged alphabetically by title of book, and spans from Railroads to Locales.","\nSeries VII: Caribbean Postcards, 1954, Undated contains postcards with different images of Carribbean life.","\nSeries VIII: Color Plates and Oversized Postcards, 1960, Undated holds all the oversized postcards from the collection as well as a collection of color plates. Plates are whole-sheet illustrations, printed separately from text. The images in this series cover a wide variety of Florida scenery and locales.","\nSeries IX: Negatives, Undated contains all the negatives of the collection."],"abstract_html_tesm":["\u003cabstract id=\"aspace_c1764512ad44520b697525a0abb48530\" label=\"Abstract\"\u003eThe images document all aspects of Central Florida history including people, such as prominent people and families, places around Florida, Florida wildlife and plantlife, as well as, images from the Kennedy Space Center and Disney. The majority of the collection dates from about 1900-1960.\u003c/abstract\u003e"],"abstract_tesim":["The images document all aspects of Central Florida history including people, such as prominent people and families, places around Florida, Florida wildlife and plantlife, as well as, images from the Kennedy Space Center and Disney. The majority of the collection dates from about 1900-1960."],"names_ssim":["UCF Special Collections","Mickler, Thomas, 1912-1997","Mickler, Georgine, 1914-1998"],"corpname_ssim":["UCF Special Collections"],"persname_ssim":["Mickler, Thomas, 1912-1997","Mickler, Georgine, 1914-1998"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":1301,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870858026892656640,"_root_":"494d175c32d55745f7fddbc7","timestamp":"2026-07-16T08:07:29.876Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/494d175c32d55745f7fddbc7_aspace_4722"}},{"id":"ea10a278e35b143f130f4d56_aspace_3ce494c8de688688db8f57c457acfa18","type":"File","attributes":{"title":"Churches, Father Augustine, and the Odd Fellows Lodge, 1925-2010, Undated","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/ea10a278e35b143f130f4d56_aspace_3ce494c8de688688db8f57c457acfa18#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_3ce494c8de688688db8f57c457acfa18","ref_ssm":["aspace_3ce494c8de688688db8f57c457acfa18","aspace_3ce494c8de688688db8f57c457acfa18"],"id":"ea10a278e35b143f130f4d56_aspace_3ce494c8de688688db8f57c457acfa18","title_filing_ssi":"Churches, Father Augustine, and the Odd Fellows Lodge","title_ssm":["Churches, Father Augustine, and the Odd Fellows Lodge"],"title_tesim":["Churches, Father Augustine, and the Odd Fellows Lodge"],"unitdate_inclusive_ssm":["1925-2010, Undated"],"normalized_date_ssm":["1925-2010, Undated"],"normalized_title_ssm":["Churches, Father Augustine, and the Odd Fellows Lodge, 1925-2010, Undated"],"text":["Churches, Father Augustine, and the Odd Fellows Lodge, 1925-2010, Undated","Carol Mundy: African American Legacy Research Files, 1790-2012","Research Files, 1790-2012, Undated.","Apopka, 1790-2010, Undated","/repositories/4/archival_objects/55914","Box 1","Folder 2"],"component_level_isim":[3],"parent_ids_ssim":["ea10a278e35b143f130f4d56","ea10a278e35b143f130f4d56_aspace_seriesI","ea10a278e35b143f130f4d56_aspace_0b8753bfd1b34156502df803b13f97b0"],"parent_unittitles_ssm":["Carol Mundy: African American Legacy Research Files, 1790-2012","Research Files, 1790-2012, Undated.","Apopka, 1790-2010, Undated"],"parent_unittitles_tesim":["Carol Mundy: African American Legacy Research Files, 1790-2012","Research Files, 1790-2012, Undated.","Apopka, 1790-2010, Undated"],"parent_levels_ssm":["collection","Series","Subseries"],"unitid_ssm":["/repositories/4/archival_objects/55914"],"repository_ssim":["UCF Special Collections"],"collection_ssim":["Carol Mundy: African American Legacy Research Files, 1790-2012"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":4,"parent_access_restrict_tesm":["The entire collection is open for research."],"parent_access_terms_tesm":["Unpublished manuscripts are protected by copyright. Permission to publish, quote or reproduce must be secured from the repository and the copyright holder."],"date_range_isim":[1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010],"containers_ssim":["Box 1","Folder 2"],"_nest_path_":"/components#0/components#0/components#1","_nest_parent_":"ea10a278e35b143f130f4d56_aspace_0b8753bfd1b34156502df803b13f97b0","_root_":"ea10a278e35b143f130f4d56","_version_":1870857796524703744,"timestamp":"2026-07-16T08:03:50.193Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"ea10a278e35b143f130f4d56","title_ssm":["Carol Mundy: African American Legacy Research Files"],"title_tesim":["Carol Mundy: African American Legacy Research Files"],"ead_ssi":"ea10a278e35b143f130f4d56","unitdate_ssm":["1790-2012"],"unitdate_inclusive_ssm":["1790-2012"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC.121","/repositories/4/resources/220"],"text":["SC.121","/repositories/4/resources/220","Carol Mundy: African American Legacy Research Files, 1790-2012","Apopka (Fla.)--History","Ocoee (Fla.)--History","Eatonville (Fla.)--History","African Americans","African Americans -- Florida -- History","manuscripts (documents)","photographs","The entire collection is open for research.","Ms. Carol Mundy's mother was an antique dealer and this love that Ms. Mundy had for antiques from a young age helped foster an interest and love of history. Ms. Carol Mundy, a former flight attendant was able to travel the world throughout her career. As a result she was able to compile these documents in this collection and its sister collection also house at the UCF Special Collection and University Archives and known as the African American Legacy: the Carol Mundy Collection which hold about one thousand five hundred pieces of history that Ms. Mundy collected previously. The original collection was obtained by the University of Central Florida Special Collections \u0026 University Archives in 2009.","The research files were given to the University of Central Florida History Department through their program known as Regional Initiative for Collecting the History, Experiences and Stories (RICHES). They were housed in the History Department for a number of years and were donated to the University of Central Florida Special Collections \u0026 University Archives. Ms. Mundy saw the University of Central Florida John C. Hitt Library as the perfect institution to house her collection. She also wanted to bring more attention and educate the public and students about the African American Legacy. In 2009, the University of Central Florida, honored Ms. Mundy through the Burnett Honors College. Within the pages of pamphlet handed out at the event that day. In the pamphlet it discusses the importance of preserving and educating youth.","When the University of Central Florida Special Collection \u0026 University Archives received this collection, most of the documents were in three ring binders. Upon receiving the collection the binders were in no particular order and have been organized by city. Some of the documents were put clear sleeves to keep them safe for the time being within the binders. Upon processing this collection, staples, binder clips, and paperclips were removed. The contents that were once in the binders are now housed in acid free folders and boxes.The photographs and the transparency are also housed in clear archival sleeves.","African American Legacy: The Carol Mundy Collection, 1794-2010","The collection is divided into 3 series.","Series I: Research Files, 1790-2012, Undated, consists of documents from three major areas Apopka, Eatonville, and Ocoee. The documents include articles, historic preservation manuals, land plans, census data, draft registration, and plot summaries.","Series II: Manuscripts, 2006-2009, Undated, consists of manuscripts written by Perrine Slim. The name Perrine Slim was a pseudonym for William Gladden Jr. In this series, there is also an article related to one of the manuscripts.","Series III: Photographs, 1920-Circa. 1950's, Undated, includes several photographs primarily of members of the Boykin family and the Gladden family.","Unpublished manuscripts are protected by copyright. Permission to publish, quote or reproduce must be secured from the repository and the copyright holder.","This research collection primarily looks at African American Legacy in small town Florida, including Eatonville, Apopka, and Ocoee. Through photographs, manuscripts, census data, historic home registers, and so much more; you can dive deep into researching these historic African American cities. Delve into the historic homes and their inhabitance of these historic cities through this collection. The documents in this collection are primarily photocopies, or photographs of original documents. The documents in this collection as a result were printed or created recently.","UCF Special Collections","Mundy, Carol","The materials are written in English"],"unitid_tesim":["SC.121","/repositories/4/resources/220"],"normalized_date_ssm":["1790-2012"],"normalized_title_ssm":["Carol Mundy: African American Legacy Research Files, 1790-2012"],"collection_title_tesim":["Carol Mundy: African American Legacy Research Files, 1790-2012"],"collection_ssim":["Carol Mundy: African American Legacy Research Files, 1790-2012"],"repository_ssm":["UCF Special Collections"],"repository_ssim":["UCF Special Collections"],"geogname_ssm":["Apopka (Fla.)--History","Ocoee (Fla.)--History","Eatonville (Fla.)--History"],"geogname_ssim":["Apopka (Fla.)--History","Ocoee (Fla.)--History","Eatonville (Fla.)--History"],"places_ssim":["Apopka (Fla.)--History","Ocoee (Fla.)--History","Eatonville (Fla.)--History"],"access_terms_ssm":["Unpublished manuscripts are protected by copyright. Permission to publish, quote or reproduce must be secured from the repository and the copyright holder."],"acqinfo_ssim":["Regional Initiative for Collecting the History, Experiences and Stories (RICHES) of Central Florida transferred these materials to the University of Central Florida Libraries, Special Collections \u0026 University Archives in 2020 (CFM2020_05)."],"access_subjects_ssim":["African Americans","African Americans -- Florida -- History","manuscripts (documents)","photographs"],"access_subjects_ssm":["African Americans","African Americans -- Florida -- History","manuscripts (documents)","photographs"],"has_online_content_ssim":["false"],"extent_ssm":["2.25 Linear Feet 5 Boxes"],"extent_tesim":["2.25 Linear Feet 5 Boxes"],"genreform_ssim":["manuscripts (documents)","photographs"],"date_range_isim":[1790,1791,1792,1793,1794,1795,1796,1797,1798,1799,1800,1801,1802,1803,1804,1805,1806,1807,1808,1809,1810,1811,1812,1813,1814,1815,1816,1817,1818,1819,1820,1821,1822,1823,1824,1825,1826,1827,1828,1829,1830,1831,1832,1833,1834,1835,1836,1837,1838,1839,1840,1841,1842,1843,1844,1845,1846,1847,1848,1849,1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012],"accessrestrict_html_tesm":["\u003cp\u003eThe entire collection is open for research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access"],"accessrestrict_tesim":["The entire collection is open for research."],"bioghist_html_tesm":["\u003cp\u003eMs. Carol Mundy's mother was an antique dealer and this love that Ms. Mundy had for antiques from a young age helped foster an interest and love of history. 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Ms. Mundy saw the University of Central Florida John C. Hitt Library as the perfect institution to house her collection. She also wanted to bring more attention and educate the public and students about the African American Legacy. In 2009, the University of Central Florida, honored Ms. Mundy through the Burnett Honors College. Within the pages of pamphlet handed out at the event that day. In the pamphlet it discusses the importance of preserving and educating youth.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical/Historical Note"],"bioghist_tesim":["Ms. Carol Mundy's mother was an antique dealer and this love that Ms. Mundy had for antiques from a young age helped foster an interest and love of history. Ms. Carol Mundy, a former flight attendant was able to travel the world throughout her career. As a result she was able to compile these documents in this collection and its sister collection also house at the UCF Special Collection and University Archives and known as the African American Legacy: the Carol Mundy Collection which hold about one thousand five hundred pieces of history that Ms. Mundy collected previously. The original collection was obtained by the University of Central Florida Special Collections \u0026 University Archives in 2009.","The research files were given to the University of Central Florida History Department through their program known as Regional Initiative for Collecting the History, Experiences and Stories (RICHES). They were housed in the History Department for a number of years and were donated to the University of Central Florida Special Collections \u0026 University Archives. Ms. Mundy saw the University of Central Florida John C. Hitt Library as the perfect institution to house her collection. She also wanted to bring more attention and educate the public and students about the African American Legacy. In 2009, the University of Central Florida, honored Ms. Mundy through the Burnett Honors College. Within the pages of pamphlet handed out at the event that day. In the pamphlet it discusses the importance of preserving and educating youth."],"prefercite_html_tesm":["\u003cp\u003eCarol Mundy: African American Legacy Research Files, Special Collections and University Archives, University of Central Florida, Orlando, Florida.\u003c/p\u003e"],"prefercite_tesim":["Carol Mundy: African American Legacy Research Files, Special Collections and University Archives, University of Central Florida, Orlando, Florida."],"processinfo_html_tesm":["\u003cp\u003eWhen the University of Central Florida Special Collection \u0026amp; University Archives received this collection, most of the documents were in three ring binders. 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The contents that were once in the binders are now housed in acid free folders and boxes.The photographs and the transparency are also housed in clear archival sleeves."],"relatedmaterial_html_tesm":["\u003cp\u003e\u003cextref href=\"http://purl.flvc.org/UCF/EAD/CFM2009-02\"\u003eAfrican American Legacy: The Carol Mundy Collection, 1794-2010\u003c/extref\u003e\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["African American Legacy: The Carol Mundy Collection, 1794-2010"],"scopecontent_html_tesm":["\u003cp\u003eThe collection is divided into 3 series.\u003c/p\u003e\n","\u003cp\u003eSeries I: Research Files, 1790-2012, Undated, consists of documents from three major areas Apopka, Eatonville, and Ocoee. The documents include articles, historic preservation manuals, land plans, census data, draft registration, and plot summaries.\u003c/p\u003e\n","\u003cp\u003eSeries II: Manuscripts, 2006-2009, Undated, consists of manuscripts written by Perrine Slim. The name Perrine Slim was a pseudonym for William Gladden Jr. In this series, there is also an article related to one of the manuscripts.\u003c/p\u003e\n","\u003cp\u003eSeries III: Photographs, 1920-Circa. 1950's, Undated, includes several photographs primarily of members of the Boykin family and the Gladden family.\u003c/p\u003e"],"scopecontent_heading_ssm":["Collection Scope and Content"],"scopecontent_tesim":["The collection is divided into 3 series.","Series I: Research Files, 1790-2012, Undated, consists of documents from three major areas Apopka, Eatonville, and Ocoee. The documents include articles, historic preservation manuals, land plans, census data, draft registration, and plot summaries.","Series II: Manuscripts, 2006-2009, Undated, consists of manuscripts written by Perrine Slim. The name Perrine Slim was a pseudonym for William Gladden Jr. In this series, there is also an article related to one of the manuscripts.","Series III: Photographs, 1920-Circa. 1950's, Undated, includes several photographs primarily of members of the Boykin family and the Gladden family."],"userestrict_html_tesm":["\u003cp\u003eUnpublished manuscripts are protected by copyright. Permission to publish, quote or reproduce must be secured from the repository and the copyright holder.\u003c/p\u003e"],"userestrict_heading_ssm":["Copyright Statement"],"userestrict_tesim":["Unpublished manuscripts are protected by copyright. Permission to publish, quote or reproduce must be secured from the repository and the copyright holder."],"abstract_html_tesm":["\u003cabstract id=\"aspace_a3e726e4ada6767d05cdb00c3da6057b\"\u003eThis research collection primarily looks at African American Legacy in small town Florida, including Eatonville, Apopka, and Ocoee. Through photographs, manuscripts, census data, historic home registers, and so much more; you can dive deep into researching these historic African American cities. Delve into the historic homes and their inhabitance of these historic cities through this collection. The documents in this collection are primarily photocopies, or photographs of original documents. The documents in this collection as a result were printed or created recently.\u003c/abstract\u003e"],"abstract_tesim":["This research collection primarily looks at African American Legacy in small town Florida, including Eatonville, Apopka, and Ocoee. Through photographs, manuscripts, census data, historic home registers, and so much more; you can dive deep into researching these historic African American cities. Delve into the historic homes and their inhabitance of these historic cities through this collection. The documents in this collection are primarily photocopies, or photographs of original documents. The documents in this collection as a result were printed or created recently."],"names_ssim":["UCF Special Collections","Mundy, Carol"],"corpname_ssim":["UCF Special Collections"],"names_coll_ssim":["Mundy, Carol"],"persname_ssim":["Mundy, Carol"],"language_ssim":["The materials are written in English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":77,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870857796524703744,"_root_":"ea10a278e35b143f130f4d56","timestamp":"2026-07-16T08:03:50.193Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/ea10a278e35b143f130f4d56_aspace_3ce494c8de688688db8f57c457acfa18"}},{"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. 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.\u003c/p\u003e"],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/df5f33ab57ee6e767c26a104#breadcrumbs","type":"document_value","attributes":{"value":[{"id":"df5f33ab57ee6e767c26a104","title_ssm":["Cienfuegos Collection"],"title_tesim":["Cienfuegos Collection"],"ead_ssi":"df5f33ab57ee6e767c26a104","unitdate_ssm":["1819-1991"],"unitdate_inclusive_ssm":["1819-1991"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SPC9010","/repositories/2/resources/115"],"text":["SPC9010","/repositories/2/resources/115","Cienfuegos Collection, 1819-1991","Cuba","postcards","Newspaper","Maps","Magazine","Photographs","This collection is open for research. 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. 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. For other uses you need to obtain permission from the rights-holder(s).","For more information please visit: https://library.fiu.edu/find/copyright/general","FIU Special Collections","English Spanish; Castilian"],"unitid_tesim":["SPC9010","/repositories/2/resources/115"],"normalized_date_ssm":["1819-1991"],"normalized_title_ssm":["Cienfuegos Collection, 1819-1991"],"collection_title_tesim":["Cienfuegos Collection, 1819-1991"],"collection_ssim":["Cienfuegos Collection, 1819-1991"],"repository_ssm":["FIU Special Collections"],"repository_ssim":["FIU Special Collections"],"geogname_ssm":["Cuba"],"geogname_ssim":["Cuba"],"places_ssim":["Cuba"],"access_terms_ssm":["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. For other uses you need to obtain permission from the rights-holder(s).","For more information please visit: https://library.fiu.edu/find/copyright/general"],"acqinfo_ssim":["Materials were acquired through a private donor."],"access_subjects_ssim":["postcards","Newspaper","Maps","Magazine","Photographs"],"access_subjects_ssm":["postcards","Newspaper","Maps","Magazine","Photographs"],"has_online_content_ssim":["false"],"extent_ssm":["3 boxes 3 archival storage cartons"],"extent_tesim":["3 boxes 3 archival storage cartons"],"dimensions_tesim":["3.25 linear feet"],"genreform_ssim":["Newspaper","Maps","Magazine","Photographs"],"date_range_isim":[1819,1820,1821,1822,1823,1824,1825,1826,1827,1828,1829,1830,1831,1832,1833,1834,1835,1836,1837,1838,1839,1840,1841,1842,1843,1844,1845,1846,1847,1848,1849,1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is open for research. Researchers must contact Special Collections \u0026amp; 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.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["This collection is open for research. 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."],"bioghist_html_tesm":["\u003cp\u003eCienfuegos, 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.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["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."],"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. 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.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["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. 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."],"userestrict_html_tesm":["\u003cp\u003eThe 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. 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. For other uses you need to obtain permission from the rights-holder(s).","For more information please visit: https://library.fiu.edu/find/copyright/general"],"names_ssim":["FIU Special Collections"],"corpname_ssim":["FIU Special Collections"],"language_ssim":["English Spanish; Castilian"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":36,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870844445591601152,"_root_":"df5f33ab57ee6e767c26a104","timestamp":"2026-07-16T04:31:37.751Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"df5f33ab57ee6e767c26a104","title_ssm":["Cienfuegos Collection"],"title_tesim":["Cienfuegos Collection"],"ead_ssi":"df5f33ab57ee6e767c26a104","unitdate_ssm":["1819-1991"],"unitdate_inclusive_ssm":["1819-1991"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SPC9010","/repositories/2/resources/115"],"text":["SPC9010","/repositories/2/resources/115","Cienfuegos Collection, 1819-1991","Cuba","postcards","Newspaper","Maps","Magazine","Photographs","This collection is open for research. 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. 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. For other uses you need to obtain permission from the rights-holder(s).","For more information please visit: https://library.fiu.edu/find/copyright/general","FIU Special Collections","English Spanish; Castilian"],"unitid_tesim":["SPC9010","/repositories/2/resources/115"],"normalized_date_ssm":["1819-1991"],"normalized_title_ssm":["Cienfuegos Collection, 1819-1991"],"collection_title_tesim":["Cienfuegos Collection, 1819-1991"],"collection_ssim":["Cienfuegos Collection, 1819-1991"],"repository_ssm":["FIU Special Collections"],"repository_ssim":["FIU Special Collections"],"geogname_ssm":["Cuba"],"geogname_ssim":["Cuba"],"places_ssim":["Cuba"],"access_terms_ssm":["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. For other uses you need to obtain permission from the rights-holder(s).","For more information please visit: https://library.fiu.edu/find/copyright/general"],"acqinfo_ssim":["Materials were acquired through a private donor."],"access_subjects_ssim":["postcards","Newspaper","Maps","Magazine","Photographs"],"access_subjects_ssm":["postcards","Newspaper","Maps","Magazine","Photographs"],"has_online_content_ssim":["false"],"extent_ssm":["3 boxes 3 archival storage cartons"],"extent_tesim":["3 boxes 3 archival storage cartons"],"dimensions_tesim":["3.25 linear feet"],"genreform_ssim":["Newspaper","Maps","Magazine","Photographs"],"date_range_isim":[1819,1820,1821,1822,1823,1824,1825,1826,1827,1828,1829,1830,1831,1832,1833,1834,1835,1836,1837,1838,1839,1840,1841,1842,1843,1844,1845,1846,1847,1848,1849,1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is open for research. Researchers must contact Special Collections \u0026amp; 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.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["This collection is open for research. 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."],"bioghist_html_tesm":["\u003cp\u003eCienfuegos, 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. 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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. 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.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["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. 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."],"userestrict_html_tesm":["\u003cp\u003eThe 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. 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. For other uses you need to obtain permission from the rights-holder(s).","For more information please visit: https://library.fiu.edu/find/copyright/general"],"names_ssim":["FIU Special Collections"],"corpname_ssim":["FIU Special Collections"],"language_ssim":["English Spanish; Castilian"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":36,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870844445591601152,"_root_":"df5f33ab57ee6e767c26a104","timestamp":"2026-07-16T04:31:37.751Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/df5f33ab57ee6e767c26a104"}},{"id":"3a2a2bd1f653ffea6555f77b","type":"collection","attributes":{"title":"Cigar Industry supplementary material, 1900-1995","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/3a2a2bd1f653ffea6555f77b#abstract_or_scope","type":"document_value","attributes":{"value":["This collection contains materials related to the cigar and tobacco industry in the United States, with a focus on Tampa manufacturers. 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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. 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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"}]}}],"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. 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