{"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1927\u0026page=32\u0026view=compact","prev":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1927\u0026page=31\u0026view=compact","next":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1927\u0026page=33\u0026view=compact","last":"https://flvc.lyrasistechnology.org/catalog.json?f%5Bdate_range%5D%5B%5D=1927\u0026page=208\u0026view=compact"},"meta":{"pages":{"current_page":32,"next_page":33,"prev_page":31,"total_pages":208,"limit_value":10,"offset_value":310,"total_count":2076,"first_page?":false,"last_page?":false}},"data":[{"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. Included are documents related to labor union organizing at local levels and membership to the Cigar Makers' International Union of America, tobacco industry publications, cigar art, advertisements, and other assorted documents.\u003c/abstract\u003e"],"abstract_tesim":["This collection contains materials related to the cigar and tobacco industry in the United States, with a focus on Tampa manufacturers. Included are documents related to labor union organizing at local levels and membership to the Cigar Makers' International Union of America, tobacco industry publications, cigar art, advertisements, and other assorted documents."],"names_ssim":["USF Libraries - Tampa Special Collections"],"corpname_ssim":["USF Libraries - Tampa Special Collections"],"language_ssim":["English"],"total_component_count_is":88,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"3a2a2bd1f653ffea6555f77b","timestamp":"2026-07-10T05:12:43.897Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"3a2a2bd1f653ffea6555f77b","title_ssm":["Cigar Industry supplementary material"],"title_tesim":["Cigar Industry supplementary material"],"ead_ssi":"3a2a2bd1f653ffea6555f77b","unitdate_ssm":["1900-1995"],"unitdate_inclusive_ssm":["1900-1995"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS-1995-11","/repositories/2/resources/638"],"text":["MS-1995-11","/repositories/2/resources/638","Cigar Industry supplementary material, 1900-1995","Cigar industry","Cigar industry -- Florida -- Tampa","Cigar industry -- History","Labor unions","Labor unions -- Florida","Immigrants -- Florida -- History","Tobacco industry","Tobacco industry -- Florida","Materials are arranged topically.","Materials in the collection include cigar factory brochures, tobacco industry collectable catalogs, periodicals, manuscripts, photographs, union booklets, ephemera, cigar art and advertisements, correspondence, event programs, clippings, and other assorted items.","None.  The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information.","This collection contains materials related to the cigar and tobacco industry in the United States, with a focus on Tampa manufacturers. Included are documents related to labor union organizing at local levels and membership to the Cigar Makers' International Union of America, tobacco industry publications, cigar art, advertisements, and other assorted documents.","USF Libraries - Tampa Special Collections","English"],"unitid_tesim":["MS-1995-11","/repositories/2/resources/638"],"normalized_date_ssm":["1900-1995"],"normalized_title_ssm":["Cigar Industry supplementary material, 1900-1995"],"collection_title_tesim":["Cigar Industry supplementary material, 1900-1995"],"collection_ssim":["Cigar Industry supplementary material, 1900-1995"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"access_terms_ssm":["None.  The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"access_subjects_ssim":["Cigar industry","Cigar industry -- Florida -- Tampa","Cigar industry -- History","Labor unions","Labor unions -- Florida","Immigrants -- Florida -- History","Tobacco industry","Tobacco industry -- Florida"],"access_subjects_ssm":["Cigar industry","Cigar industry -- Florida -- Tampa","Cigar industry -- History","Labor unions","Labor unions -- Florida","Immigrants -- Florida -- History","Tobacco industry","Tobacco industry -- Florida"],"has_online_content_ssim":["false"],"extent_ssm":["1 boxes","0.42 Linear Feet"],"extent_tesim":["1 boxes","0.42 Linear Feet"],"date_range_isim":[1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995],"arrangement_html_tesm":["\u003cp\u003eMaterials are arranged topically.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Materials are arranged topically."],"prefercite_html_tesm":["\u003cp\u003eCigar Industry Supplementary Material, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"prefercite_tesim":["Cigar Industry Supplementary Material, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"scopecontent_html_tesm":["\u003cp\u003eMaterials in the collection include cigar factory brochures, tobacco industry collectable catalogs, periodicals, manuscripts, photographs, union booklets, ephemera, cigar art and advertisements, correspondence, event programs, clippings, and other assorted items.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Materials in the collection include cigar factory brochures, tobacco industry collectable catalogs, periodicals, manuscripts, photographs, union booklets, ephemera, cigar art and advertisements, correspondence, event programs, clippings, and other assorted items."],"userestrict_html_tesm":["\u003cp\u003eNone.\u0026#xA0; The contents of the collection may be subject to copyright.\u0026#xA0; Visit the United States Copyright Office's website at \u003cextref href=\"http://www.copyright.gov/\"\u003ehttp://www.copyright.gov/\u003c/extref\u003e for more information.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["None.  The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"abstract_html_tesm":["\u003cabstract id=\"aspace_338bf1cf1c0a08ff9acffcbd8be08899\"\u003eThis collection contains materials related to the cigar and tobacco industry in the United States, with a focus on Tampa manufacturers. Included are documents related to labor union organizing at local levels and membership to the Cigar Makers' International Union of America, tobacco industry publications, cigar art, advertisements, and other assorted documents.\u003c/abstract\u003e"],"abstract_tesim":["This collection contains materials related to the cigar and tobacco industry in the United States, with a focus on Tampa manufacturers. Included are documents related to labor union organizing at local levels and membership to the Cigar Makers' International Union of America, tobacco industry publications, cigar art, advertisements, and other assorted documents."],"names_ssim":["USF Libraries - Tampa Special Collections"],"corpname_ssim":["USF Libraries - Tampa Special Collections"],"language_ssim":["English"],"total_component_count_is":88,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"3a2a2bd1f653ffea6555f77b","timestamp":"2026-07-10T05:12:43.897Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/3a2a2bd1f653ffea6555f77b"}},{"id":"1fb60b2a237557e58ed95300","type":"collection","attributes":{"title":"Cigar Label Collection, Dating back to the late 19th century all the way to the mid-20th century.","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/1fb60b2a237557e58ed95300#abstract_or_scope","type":"document_value","attributes":{"value":["Collection of cigar labels from the late 19th century to the early 20th century."],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/1fb60b2a237557e58ed95300#breadcrumbs","type":"document_value","attributes":{"value":[{"id":"1fb60b2a237557e58ed95300","title_ssm":["Cigar Label Collection"],"title_tesim":["Cigar Label Collection"],"ead_ssi":"1fb60b2a237557e58ed95300","unitdate_ssm":["Dating back to the late 19th century all the way to the mid-20th century."],"unitdate_inclusive_ssm":["Dating back to the late 19th century all the way to the mid-20th century."],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SPC6005","/repositories/2/resources/127"],"text":["SPC6005","/repositories/2/resources/127","Cigar Label Collection, Dating back to the late 19th century all the way to the mid-20th century.","The collection is open for research.","Omar Amador, a Cuban native now residing in Miami, Florida has cultivated an impressive collection of Cuban memorabilia, with a particular focus on chromolithographic cigar labels. His passion for preserving rich cultural heritage of Cuba is reflected in the depth and diversity of his collection. \nThese Cuban cigar labels date back from the late 19th and early 20th centuries as a vibrant testament to the artistry and marketing ingenuity of the cigar industry during this time period. ","With the rise of chromolithography revolutionizing label productions all over the globe, it allowed for the creation of rich, multi-colored designs that adorned cigar boxes to consumers. These labels were not just decorative to cigar-lovers alike but they served as a crucial marketing ploy to demonstrate the quality and craftsmanship behind these cigars. With a collection that features 217 labels that present a diverse range of languages and styles, one can appreciate the artistic heritage that these labels represent. Reflecting not only the local Cuban culture but a broader international context of cigar consumption.","Among the prominent manufacturers featured in this collection of labels, such as M. Bustillo Company, F. Garcia \u0026 Brothers, Alfonso Rios \u0026 Company, and M.M. Sevis \u0026 Sons, amongst other small known companies. Each of these companies contributed uniquely to the visual identity of their products. M. Bustillo Company was really well-known for its elegant designs that would usually incorporate floral motifs and classical themes, while F. Garcia \u0026 Brothers emphasizes the quality and c\nraftsmanship of their cigars through the use of bold and striking imagery. Alfonso Rios \u0026 Company and M.M. Sevis \u0026 Sons both similarly highly focuses on capturing the essence of Cuban heritage in their visual imagery through labels, utilizing local symbols and artistic iconographical styles that resonated with consumers both national and international. ","The important role of lithographers in the creative process of these labels cannot be overstated. Companies such as the American Lithographic Company and the Klingenberg Detmond Company played a pivotal role in producing high-quality chromolithographic labels that would become iconic within the industry. The Klingenberg Detmond Company, for example, was renowned for its meticulous attention to detail and vibrant color palettes for their cigar labels, making them stand out in a competitive market. Other known significant contributors would include the Lithographic Germany, Consolidated Lithographing Corporation, Moehle Lithographic Company, and many more bringing in their own unique techniques and artistic capabilities to the cigar label landscape. Widely known Compania Litografica de la Habana further enriched the offerings by focusing on designs that reflected Cuban identity, integrating local artistic traditions with contemporary printing methods. ","The multilingual aspect of these labels speaks volumes about the global appeal of Cuban cigars and the culture behind them. By catering to a diverse audience, manufacturers ensured that their products reached consumers from various backgrounds, therefore enhancing the cigars' reputation as a symbol of sophistication and status. Labels would often featured languages such as Spanish, English, French, German, and many more, underscoring the international demand for these luxurious products and goods. Collectively, these chromolithographic labels tell such a rich cultural history, blending artistic craftsmanship with the economic and social dynamics of their respective time periods. They will stand as cherished collectibles, offering a glimpse into the vibrant story of Cuban cigar tobacco industry and the enduring allure and aesthetic of its cigars. ","\nOmar Amador, un cubano nativo que ahora reside en Miami, Florida, ha cultivado una impresionante colección de memorabilia cubana, con un enfoque particular en las etiquetas de cigarros en cromolitografía. Su pasión por preservar el rico patrimonio cultural de Cuba se refleja en la profundidad y diversidad de su colección.","Estas etiquetas de cigarros cubanos datan de finales del siglo XIX y principios del siglo XX, como un vibrante testimonio del arte y la ingeniosidad en marketing de la industria del cigarro durante este período. Con el auge de la cromolitografía, que revolucionó la producción de etiquetas en todo el mundo, se permitió la creación de diseños ricos y multicolores que adornaban las cajas de cigarros para los consumidores. Estas etiquetas no solo eran decorativas para los amantes de los cigarros, sino que también servían como una estrategia de marketing crucial para demostrar la calidad y el artesanado detrás de estos cigarros. Con una colección que presenta 217 etiquetas que abarcan una diversa gama de idiomas y estilos, se puede apreciar el patrimonio artístico que estas etiquetas representan, reflejando no solo la cultura local cubana, sino un contexto internacional más amplio del consumo de cigarros.","Entre los destacados fabricantes que aparecen en esta colección de etiquetas, se encuentran la M. Bustillo Company, F. Garcia \u0026 Brothers, Alfonso Rios \u0026 Company y M.M. Sevis \u0026 Sons, entre otras pequeñas empresas menos conocidas. Cada una de estas compañías contribuyó de manera única a la identidad visual de sus productos. El M. Bustillo Company era muy conocida por sus elegantes diseños que generalmente incorporaban motivos florales y temas clásicos, mientras que F. Garcia \u0026 Brothers enfatizaba la calidad y el artesanado de sus cigarros mediante el uso de imágenes audaces y llamativas. Tanto Alfonso Rios \u0026 Company como M.M. Sevis \u0026 Sons se enfocaron en capturar la esencia del patrimonio cubano en su imaginería visual a través de etiquetas, utilizando símbolos locales y estilos iconográficos artísticos que resonaban con los consumidores, tanto nacionales como internacionales.","El importante papel de los litógrafos en el proceso creativo de estas etiquetas no puede ser subestimado. Compañías como la American Lithographic Company y la Klingenberg Detmond Company desempeñaron un papel fundamental en la producción de etiquetas cromolitográficas de alta calidad que se volverían icónicas en la industria. La Klingenberg Detmond Company, por ejemplo, era conocida por su meticulosa atención al detalle y paletas de colores vibrantes para sus etiquetas de cigarros, lo que las hacía destacar en un mercado competitivo. Otros importantes contribuyentes conocidos incluyen Lithographic Germany, Consolidated Lithographing Corporation, Moehle Lithographic Company y muchos más, que aportaron sus propias técnicas únicas y capacidades artísticas al paisaje de las etiquetas de cigarros. La ampliamente conocida Compañía Litográfica de La Habana enriqueció aún más la oferta al enfocarse en diseños que reflejaban la identidad cubana, integrando tradiciones artísticas locales con métodos de impresión contemporáneos.","El aspecto multilingue de estas etiquetas habla mucho sobre el atractivo global de los cigarros cubanos y la cultura que los rodea. Al dirigirse a una audiencia diversa, los fabricantes aseguraron que sus productos llegaran a consumidores de diversos orígenes, mejorando así la reputación de los cigarros como símbolo de sofisticación y estatus. Las etiquetas a menudo presentaban idiomas como español, inglés, francés, alemán y muchos más, subrayando la demanda internacional de estos productos y bienes lujosos. Colectivamente, estas etiquetas cromolitográficas cuentan una rica historia cultural, fusionando la artesanía artística con las dinámicas económicas y sociales de sus respectivos períodos. Se mantendrán como coleccionables apreciados, ofreciendo un vistazo a la vibrante historia de la industria del tabaco de cigarros cubanos y la perdurable atracción y estética de sus cigarros.","Osterweil Collection of Cigar Labels (USF) https://digitalcommons.usf.edu/osterweil/, Tampa Cigar Industry and Art Collection (USF) https://digitalcommons.usf.edu/tampa_cigar_art/, Tobacco Art Collection (UM) https://atom.library.miami.edu/chc5279, Cigar City Collection (DLOC) https://www.dloc.com/results?filter=creator:Cigar%20City%20Collection, Florida Department of State Museum of Florida History https://museumoffloridahistory.com/explore/collections/cigar-box-labels/.","The Cigar Label Collection at Florida International University (FIU) Special Collections serves as a vital resource for understanding the rich history and cultural significance of the Cuban cigar industry during the early 20th century, in parts of Cuba and global communities. The collection encompasses a wide range of materials dating back to the late 19th century to the mid-20th century, it includes cigar bands and chromolithographic cigar box labels. The collection contains numerous Cuban cigar manufacturers and brands, offering insights into the artistic styles that defined the industry's golden age. Highlighting the intricate artistry of cigar label lithographs and their role in the branding and marketing of Cuban cigars. Preserving these labels would give researchers a chance to see for themselves the delicate process of lithographic imagery in Cuban cigar manufacturing and marketing.","\nLa Colección de Etiquetas de Cigarros en las Special Collections de la Florida International University (FIU) sirve como un recurso vital para comprender la historia y el significado cultural de la industria del cigarro cubano durante el siglo XX, tanto en partes de Cuba como en comunidades globales. La colección abarca una amplia gama de materiales que datan desde finales del siglo XIX hasta mediados del siglo XX, e incluye anillas de cigarros y etiquetas de cajas de cigarros en cromolitografía. La colección contiene numerosos fabricantes y marcas de cigarros cubanos, ofreciendo perspectivas sobre los estilos artísticos que definieron la edad dorada de la industria. Destaca la intrincada artesanía de las litografías de etiquetas de cigarros y su papel en la marca y el marketing de los cigarros cubanos. Preservar estas etiquetas brindaría a los investigadores la oportunidad de observar el delicado proceso de la imaginería litográfica en la fabricación y comercialización de cigarros cubanos.","Rights. The Cigar Label Collection are owned by Florida International University. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.","Collection of cigar labels from the late 19th century to the early 20th century.","FIU Special Collections","Adlerpost Cigar Company (New York City, New York)","Henry Clay Company (Trenton, New Jersey)","American Lithographic Company","Ramon Alvarez \u0026 Company (Tampa, Florida)","Perfecto Garcia \u0026 Brothers (Ybor City, Tampa, Florida)","Jose Pepin Garcia (Miami, Florida)","S.L. Lee \u0026 Sons (Ybor City, Tampa, Florida)","Consolidated Lithographing Corporation","M.M. Sevis \u0026 Sons (Springvale, Pennsylvania)","C. Garcia \u0026 Cia Habana (Havana, Cuba)","Castle Hall (New York City, New York)","William D. Castro (Miami, Florida)","Bear Company","Maryland Lithographic Company","Cima de Luxe (Esteli, Nicaragua)","Covered Wagon Cigar","Klingenberg Detmond Company","M. Bustillo and Company (Hillsborough County, Tampa, Florida)","El Predomino Cigar Company Manufacturers (Tampa, Florida)","Don Nieto Cigar Factory","San Martin and Son Cigar Company (Hillsborough County, Tampa, Florida)","Moehle Litho Company","David S. Erb \u0026 Co. (Boyertown, Pennsylvania)","Baum-Jaffe Company (Philadelphia, Pennsylvania)","A.W. \u0026 S","Wettig Gedeponeerd (Netherlands)","E. Goss \u0026 Company (San Francisco, California)","G.A.K. \u0026 Company","Wolverine Cigar Company","East Prospect Cigar Company (East Prospect, Pennsylvania)","T. J. Kennedy Tobacco Company","F. Garcia \u0026 Brothers (Hillsborough County, Tampa, Florida)","F. Villar \u0026 Company ","Charles B. Perkins Company (Boston, Massachusetts)","M.H. Smaltz \u0026 Son (Womelsdorf, Pennsylvania)","M. Alonso \u0026 Company","Alfonso Rios \u0026 Company","Charles L. Boak (Harrisburg, Pennsylvania)","Pasbach Voice","H. Upmann (Havana, Cuba)","George S. Harris \u0026 Sons Litho","Heijnen \u0026 Company (Eindhoven, Netherlands)","Louis E. Neuman \u0026 Company Litho","Hofnar Sigarenfabrieken (Netherlands)","Salvador Rodriguez, Inc. (Tampa, Florida)","Compania Litografica de la Habana (Havana, Cuba)","Kerssemakers-Rath \u0026 Company (Netherlands)","Kyra Cigar Company (West Africa)","La Balca Havana Cigars","Calvert Litho Company","S. Hersheim Brothers \u0026 Company (New Orleans, Louisiana)","Moller, Kokeritz \u0026 Company (New York City, New York)","Litho Germany (Germany)","Victor Alvarez (Havana, Cuba)","Krueger \u0026 Braun Litho","C.B. Henschel Manufacturing Company","Corral, Wodiska y Ca.","Meyer Patur Cigar Company (Chicago, Illinois)","G. S. \u0026 Company","J.H. Hamann (Chicago, Illinois)","La Victoria Cigar Corporation (New York City, New York)","B \u0026 B Cigar Company (Kalamazoo, Michigan)","D.S. Erb \u0026 Company (New York City, New York)","Otto Berndt \u0026 Son (Chicago, Illinois)","Leon Real","Grommes and Ulrich Cigar Company (Hillsborough County, Tampa, Florida)","Louis C. Wagner \u0026 Company","M. Bustillo \u0026 Merriam (Hillsborough County, Tampa, Florida)","J.Jimenez Perez (New York City, New York)","Hermann Shott Rheydt","A.C. Henschel \u0026 Company","Moller Koreritz ","P.M. \u0026 F.","Marcelino Perez Cigar Company (Hillsborough County, Tampa, Florida)","Club Royal","Lozano, Pendas, and Company","Wohl \u0026 Comstock Co. ","Litho George Schlegel (New York)","Por Larranaga (Havana, Cuba)","El Arte Cigar Company","John T. Stier \u0026 Sons Cigar Company (Louisville, Kentucky)","Tampa Cuba Cigar Company (Ybor City, Tampa, Florida)","Romeo y Julieta (Havana, Cuba)","Pedro Perez Cigar Company (Ybor City, Tampa, Florida)","The Graham-Ernst Cigar Company","Kohler Snyder Company","J.A. Mcadoo","Louis Heltman Company","Celestino Costello \u0026 Company","H.E. Ackerburg","Golden Bros","A.H. Belo \u0026 Company","Luis Zamorano Gonzalez","Willem II (Netherlands)","Spanish; Castilian"],"unitid_tesim":["SPC6005","/repositories/2/resources/127"],"normalized_date_ssm":["Dating back to the late 19th century all the way to the mid-20th century."],"normalized_title_ssm":["Cigar Label Collection, Dating back to the late 19th century all the way to the mid-20th century."],"collection_title_tesim":["Cigar Label Collection, Dating back to the late 19th century all the way to the mid-20th century."],"collection_ssim":["Cigar Label Collection, Dating back to the late 19th century all the way to the mid-20th century."],"repository_ssm":["FIU Special Collections"],"repository_ssim":["FIU Special Collections"],"access_terms_ssm":["Rights. The Cigar Label Collection are owned by Florida International University. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws."],"has_online_content_ssim":["false"],"extent_ssm":["217 items"],"extent_tesim":["217 items"],"date_range_isim":[1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research."],"bioghist_html_tesm":["\u003cp\u003eOmar Amador, a Cuban native now residing in Miami, Florida has cultivated an impressive collection of Cuban memorabilia, with a particular focus on chromolithographic cigar labels. His passion for preserving rich cultural heritage of Cuba is reflected in the depth and diversity of his collection. \nThese Cuban cigar labels date back from the late 19th and early 20th centuries as a vibrant testament to the artistry and marketing ingenuity of the cigar industry during this time period. \u003c/p\u003e\n","\u003cp\u003eWith the rise of chromolithography revolutionizing label productions all over the globe, it allowed for the creation of rich, multi-colored designs that adorned cigar boxes to consumers. These labels were not just decorative to cigar-lovers alike but they served as a crucial marketing ploy to demonstrate the quality and craftsmanship behind these cigars. With a collection that features 217 labels that present a diverse range of languages and styles, one can appreciate the artistic heritage that these labels represent. Reflecting not only the local Cuban culture but a broader international context of cigar consumption.\u003c/p\u003e\n","\u003cp\u003eAmong the prominent manufacturers featured in this collection of labels, such as M. Bustillo Company, F. Garcia \u0026amp; Brothers, Alfonso Rios \u0026amp; Company, and M.M. Sevis \u0026amp; Sons, amongst other small known companies. Each of these companies contributed uniquely to the visual identity of their products. M. Bustillo Company was really well-known for its elegant designs that would usually incorporate floral motifs and classical themes, while F. Garcia \u0026amp; Brothers emphasizes the quality and c\nraftsmanship of their cigars through the use of bold and striking imagery. Alfonso Rios \u0026amp; Company and M.M. Sevis \u0026amp; Sons both similarly highly focuses on capturing the essence of Cuban heritage in their visual imagery through labels, utilizing local symbols and artistic iconographical styles that resonated with consumers both national and international. \u003c/p\u003e\n","\u003cp\u003eThe important role of lithographers in the creative process of these labels cannot be overstated. Companies such as the American Lithographic Company and the Klingenberg Detmond Company played a pivotal role in producing high-quality chromolithographic labels that would become iconic within the industry. The Klingenberg Detmond Company, for example, was renowned for its meticulous attention to detail and vibrant color palettes for their cigar labels, making them stand out in a competitive market. Other known significant contributors would include the Lithographic Germany, Consolidated Lithographing Corporation, Moehle Lithographic Company, and many more bringing in their own unique techniques and artistic capabilities to the cigar label landscape. Widely known Compania Litografica de la Habana further enriched the offerings by focusing on designs that reflected Cuban identity, integrating local artistic traditions with contemporary printing methods. \u003c/p\u003e\n","\u003cp\u003eThe multilingual aspect of these labels speaks volumes about the global appeal of Cuban cigars and the culture behind them. By catering to a diverse audience, manufacturers ensured that their products reached consumers from various backgrounds, therefore enhancing the cigars' reputation as a symbol of sophistication and status. Labels would often featured languages such as Spanish, English, French, German, and many more, underscoring the international demand for these luxurious products and goods. Collectively, these chromolithographic labels tell such a rich cultural history, blending artistic craftsmanship with the economic and social dynamics of their respective time periods. They will stand as cherished collectibles, offering a glimpse into the vibrant story of Cuban cigar tobacco industry and the enduring allure and aesthetic of its cigars. \u003c/p\u003e\n","\u003cp\u003e\nOmar Amador, un cubano nativo que ahora reside en Miami, Florida, ha cultivado una impresionante colecci\u0026#xF3;n de memorabilia cubana, con un enfoque particular en las etiquetas de cigarros en cromolitograf\u0026#xED;a. Su pasi\u0026#xF3;n por preservar el rico patrimonio cultural de Cuba se refleja en la profundidad y diversidad de su colecci\u0026#xF3;n.\u003c/p\u003e\n","\u003cp\u003eEstas etiquetas de cigarros cubanos datan de finales del siglo XIX y principios del siglo XX, como un vibrante testimonio del arte y la ingeniosidad en marketing de la industria del cigarro durante este per\u0026#xED;odo. Con el auge de la cromolitograf\u0026#xED;a, que revolucion\u0026#xF3; la producci\u0026#xF3;n de etiquetas en todo el mundo, se permiti\u0026#xF3; la creaci\u0026#xF3;n de dise\u0026#xF1;os ricos y multicolores que adornaban las cajas de cigarros para los consumidores. Estas etiquetas no solo eran decorativas para los amantes de los cigarros, sino que tambi\u0026#xE9;n serv\u0026#xED;an como una estrategia de marketing crucial para demostrar la calidad y el artesanado detr\u0026#xE1;s de estos cigarros. Con una colecci\u0026#xF3;n que presenta 217 etiquetas que abarcan una diversa gama de idiomas y estilos, se puede apreciar el patrimonio art\u0026#xED;stico que estas etiquetas representan, reflejando no solo la cultura local cubana, sino un contexto internacional m\u0026#xE1;s amplio del consumo de cigarros.\u003c/p\u003e\n","\u003cp\u003eEntre los destacados fabricantes que aparecen en esta colecci\u0026#xF3;n de etiquetas, se encuentran la M. Bustillo Company, F. Garcia \u0026amp; Brothers, Alfonso Rios \u0026amp; Company y M.M. Sevis \u0026amp; Sons, entre otras peque\u0026#xF1;as empresas menos conocidas. Cada una de estas compa\u0026#xF1;\u0026#xED;as contribuy\u0026#xF3; de manera \u0026#xFA;nica a la identidad visual de sus productos. El M. Bustillo Company era muy conocida por sus elegantes dise\u0026#xF1;os que generalmente incorporaban motivos florales y temas cl\u0026#xE1;sicos, mientras que F. Garcia \u0026amp; Brothers enfatizaba la calidad y el artesanado de sus cigarros mediante el uso de im\u0026#xE1;genes audaces y llamativas. Tanto Alfonso Rios \u0026amp; Company como M.M. Sevis \u0026amp; Sons se enfocaron en capturar la esencia del patrimonio cubano en su imaginer\u0026#xED;a visual a trav\u0026#xE9;s de etiquetas, utilizando s\u0026#xED;mbolos locales y estilos iconogr\u0026#xE1;ficos art\u0026#xED;sticos que resonaban con los consumidores, tanto nacionales como internacionales.\u003c/p\u003e\n","\u003cp\u003eEl importante papel de los lit\u0026#xF3;grafos en el proceso creativo de estas etiquetas no puede ser subestimado. Compa\u0026#xF1;\u0026#xED;as como la American Lithographic Company y la Klingenberg Detmond Company desempe\u0026#xF1;aron un papel fundamental en la producci\u0026#xF3;n de etiquetas cromolitogr\u0026#xE1;ficas de alta calidad que se volver\u0026#xED;an ic\u0026#xF3;nicas en la industria. La Klingenberg Detmond Company, por ejemplo, era conocida por su meticulosa atenci\u0026#xF3;n al detalle y paletas de colores vibrantes para sus etiquetas de cigarros, lo que las hac\u0026#xED;a destacar en un mercado competitivo. Otros importantes contribuyentes conocidos incluyen Lithographic Germany, Consolidated Lithographing Corporation, Moehle Lithographic Company y muchos m\u0026#xE1;s, que aportaron sus propias t\u0026#xE9;cnicas \u0026#xFA;nicas y capacidades art\u0026#xED;sticas al paisaje de las etiquetas de cigarros. La ampliamente conocida Compa\u0026#xF1;\u0026#xED;a Litogr\u0026#xE1;fica de La Habana enriqueci\u0026#xF3; a\u0026#xFA;n m\u0026#xE1;s la oferta al enfocarse en dise\u0026#xF1;os que reflejaban la identidad cubana, integrando tradiciones art\u0026#xED;sticas locales con m\u0026#xE9;todos de impresi\u0026#xF3;n contempor\u0026#xE1;neos.\u003c/p\u003e\n","\u003cp\u003eEl aspecto multilingue de estas etiquetas habla mucho sobre el atractivo global de los cigarros cubanos y la cultura que los rodea. Al dirigirse a una audiencia diversa, los fabricantes aseguraron que sus productos llegaran a consumidores de diversos or\u0026#xED;genes, mejorando as\u0026#xED; la reputaci\u0026#xF3;n de los cigarros como s\u0026#xED;mbolo de sofisticaci\u0026#xF3;n y estatus. Las etiquetas a menudo presentaban idiomas como espa\u0026#xF1;ol, ingl\u0026#xE9;s, franc\u0026#xE9;s, alem\u0026#xE1;n y muchos m\u0026#xE1;s, subrayando la demanda internacional de estos productos y bienes lujosos. Colectivamente, estas etiquetas cromolitogr\u0026#xE1;ficas cuentan una rica historia cultural, fusionando la artesan\u0026#xED;a art\u0026#xED;stica con las din\u0026#xE1;micas econ\u0026#xF3;micas y sociales de sus respectivos per\u0026#xED;odos. Se mantendr\u0026#xE1;n como coleccionables apreciados, ofreciendo un vistazo a la vibrante historia de la industria del tabaco de cigarros cubanos y la perdurable atracci\u0026#xF3;n y est\u0026#xE9;tica de sus cigarros.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Omar Amador, a Cuban native now residing in Miami, Florida has cultivated an impressive collection of Cuban memorabilia, with a particular focus on chromolithographic cigar labels. His passion for preserving rich cultural heritage of Cuba is reflected in the depth and diversity of his collection. \nThese Cuban cigar labels date back from the late 19th and early 20th centuries as a vibrant testament to the artistry and marketing ingenuity of the cigar industry during this time period. ","With the rise of chromolithography revolutionizing label productions all over the globe, it allowed for the creation of rich, multi-colored designs that adorned cigar boxes to consumers. These labels were not just decorative to cigar-lovers alike but they served as a crucial marketing ploy to demonstrate the quality and craftsmanship behind these cigars. With a collection that features 217 labels that present a diverse range of languages and styles, one can appreciate the artistic heritage that these labels represent. Reflecting not only the local Cuban culture but a broader international context of cigar consumption.","Among the prominent manufacturers featured in this collection of labels, such as M. Bustillo Company, F. Garcia \u0026 Brothers, Alfonso Rios \u0026 Company, and M.M. Sevis \u0026 Sons, amongst other small known companies. Each of these companies contributed uniquely to the visual identity of their products. M. Bustillo Company was really well-known for its elegant designs that would usually incorporate floral motifs and classical themes, while F. Garcia \u0026 Brothers emphasizes the quality and c\nraftsmanship of their cigars through the use of bold and striking imagery. Alfonso Rios \u0026 Company and M.M. Sevis \u0026 Sons both similarly highly focuses on capturing the essence of Cuban heritage in their visual imagery through labels, utilizing local symbols and artistic iconographical styles that resonated with consumers both national and international. ","The important role of lithographers in the creative process of these labels cannot be overstated. Companies such as the American Lithographic Company and the Klingenberg Detmond Company played a pivotal role in producing high-quality chromolithographic labels that would become iconic within the industry. The Klingenberg Detmond Company, for example, was renowned for its meticulous attention to detail and vibrant color palettes for their cigar labels, making them stand out in a competitive market. Other known significant contributors would include the Lithographic Germany, Consolidated Lithographing Corporation, Moehle Lithographic Company, and many more bringing in their own unique techniques and artistic capabilities to the cigar label landscape. Widely known Compania Litografica de la Habana further enriched the offerings by focusing on designs that reflected Cuban identity, integrating local artistic traditions with contemporary printing methods. ","The multilingual aspect of these labels speaks volumes about the global appeal of Cuban cigars and the culture behind them. By catering to a diverse audience, manufacturers ensured that their products reached consumers from various backgrounds, therefore enhancing the cigars' reputation as a symbol of sophistication and status. Labels would often featured languages such as Spanish, English, French, German, and many more, underscoring the international demand for these luxurious products and goods. Collectively, these chromolithographic labels tell such a rich cultural history, blending artistic craftsmanship with the economic and social dynamics of their respective time periods. They will stand as cherished collectibles, offering a glimpse into the vibrant story of Cuban cigar tobacco industry and the enduring allure and aesthetic of its cigars. ","\nOmar Amador, un cubano nativo que ahora reside en Miami, Florida, ha cultivado una impresionante colección de memorabilia cubana, con un enfoque particular en las etiquetas de cigarros en cromolitografía. Su pasión por preservar el rico patrimonio cultural de Cuba se refleja en la profundidad y diversidad de su colección.","Estas etiquetas de cigarros cubanos datan de finales del siglo XIX y principios del siglo XX, como un vibrante testimonio del arte y la ingeniosidad en marketing de la industria del cigarro durante este período. Con el auge de la cromolitografía, que revolucionó la producción de etiquetas en todo el mundo, se permitió la creación de diseños ricos y multicolores que adornaban las cajas de cigarros para los consumidores. Estas etiquetas no solo eran decorativas para los amantes de los cigarros, sino que también servían como una estrategia de marketing crucial para demostrar la calidad y el artesanado detrás de estos cigarros. Con una colección que presenta 217 etiquetas que abarcan una diversa gama de idiomas y estilos, se puede apreciar el patrimonio artístico que estas etiquetas representan, reflejando no solo la cultura local cubana, sino un contexto internacional más amplio del consumo de cigarros.","Entre los destacados fabricantes que aparecen en esta colección de etiquetas, se encuentran la M. Bustillo Company, F. Garcia \u0026 Brothers, Alfonso Rios \u0026 Company y M.M. Sevis \u0026 Sons, entre otras pequeñas empresas menos conocidas. Cada una de estas compañías contribuyó de manera única a la identidad visual de sus productos. El M. Bustillo Company era muy conocida por sus elegantes diseños que generalmente incorporaban motivos florales y temas clásicos, mientras que F. Garcia \u0026 Brothers enfatizaba la calidad y el artesanado de sus cigarros mediante el uso de imágenes audaces y llamativas. Tanto Alfonso Rios \u0026 Company como M.M. Sevis \u0026 Sons se enfocaron en capturar la esencia del patrimonio cubano en su imaginería visual a través de etiquetas, utilizando símbolos locales y estilos iconográficos artísticos que resonaban con los consumidores, tanto nacionales como internacionales.","El importante papel de los litógrafos en el proceso creativo de estas etiquetas no puede ser subestimado. Compañías como la American Lithographic Company y la Klingenberg Detmond Company desempeñaron un papel fundamental en la producción de etiquetas cromolitográficas de alta calidad que se volverían icónicas en la industria. La Klingenberg Detmond Company, por ejemplo, era conocida por su meticulosa atención al detalle y paletas de colores vibrantes para sus etiquetas de cigarros, lo que las hacía destacar en un mercado competitivo. Otros importantes contribuyentes conocidos incluyen Lithographic Germany, Consolidated Lithographing Corporation, Moehle Lithographic Company y muchos más, que aportaron sus propias técnicas únicas y capacidades artísticas al paisaje de las etiquetas de cigarros. La ampliamente conocida Compañía Litográfica de La Habana enriqueció aún más la oferta al enfocarse en diseños que reflejaban la identidad cubana, integrando tradiciones artísticas locales con métodos de impresión contemporáneos.","El aspecto multilingue de estas etiquetas habla mucho sobre el atractivo global de los cigarros cubanos y la cultura que los rodea. Al dirigirse a una audiencia diversa, los fabricantes aseguraron que sus productos llegaran a consumidores de diversos orígenes, mejorando así la reputación de los cigarros como símbolo de sofisticación y estatus. Las etiquetas a menudo presentaban idiomas como español, inglés, francés, alemán y muchos más, subrayando la demanda internacional de estos productos y bienes lujosos. Colectivamente, estas etiquetas cromolitográficas cuentan una rica historia cultural, fusionando la artesanía artística con las dinámicas económicas y sociales de sus respectivos períodos. Se mantendrán como coleccionables apreciados, ofreciendo un vistazo a la vibrante historia de la industria del tabaco de cigarros cubanos y la perdurable atracción y estética de sus cigarros."],"relatedmaterial_html_tesm":["\u003cp\u003eOsterweil Collection of Cigar Labels (USF) https://digitalcommons.usf.edu/osterweil/, Tampa Cigar Industry and Art Collection (USF) https://digitalcommons.usf.edu/tampa_cigar_art/, Tobacco Art Collection (UM) https://atom.library.miami.edu/chc5279, Cigar City Collection (DLOC) https://www.dloc.com/results?filter=creator:Cigar%20City%20Collection, Florida Department of State Museum of Florida History https://museumoffloridahistory.com/explore/collections/cigar-box-labels/.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Osterweil Collection of Cigar Labels (USF) https://digitalcommons.usf.edu/osterweil/, Tampa Cigar Industry and Art Collection (USF) https://digitalcommons.usf.edu/tampa_cigar_art/, Tobacco Art Collection (UM) https://atom.library.miami.edu/chc5279, Cigar City Collection (DLOC) https://www.dloc.com/results?filter=creator:Cigar%20City%20Collection, Florida Department of State Museum of Florida History https://museumoffloridahistory.com/explore/collections/cigar-box-labels/."],"scopecontent_html_tesm":["\u003cp\u003eThe Cigar Label Collection at Florida International University (FIU) Special Collections serves as a vital resource for understanding the rich history and cultural significance of the Cuban cigar industry during the early 20th century, in parts of Cuba and global communities. The collection encompasses a wide range of materials dating back to the late 19th century to the mid-20th century, it includes cigar bands and chromolithographic cigar box labels. The collection contains numerous Cuban cigar manufacturers and brands, offering insights into the artistic styles that defined the industry's golden age. Highlighting the intricate artistry of cigar label lithographs and their role in the branding and marketing of Cuban cigars. Preserving these labels would give researchers a chance to see for themselves the delicate process of lithographic imagery in Cuban cigar manufacturing and marketing.\u003c/p\u003e\n","\u003cp\u003e\nLa Colecci\u0026#xF3;n de Etiquetas de Cigarros en las Special Collections de la Florida International University (FIU) sirve como un recurso vital para comprender la historia y el significado cultural de la industria del cigarro cubano durante el siglo XX, tanto en partes de Cuba como en comunidades globales. La colecci\u0026#xF3;n abarca una amplia gama de materiales que datan desde finales del siglo XIX hasta mediados del siglo XX, e incluye anillas de cigarros y etiquetas de cajas de cigarros en cromolitograf\u0026#xED;a. La colecci\u0026#xF3;n contiene numerosos fabricantes y marcas de cigarros cubanos, ofreciendo perspectivas sobre los estilos art\u0026#xED;sticos que definieron la edad dorada de la industria. Destaca la intrincada artesan\u0026#xED;a de las litograf\u0026#xED;as de etiquetas de cigarros y su papel en la marca y el marketing de los cigarros cubanos. Preservar estas etiquetas brindar\u0026#xED;a a los investigadores la oportunidad de observar el delicado proceso de la imaginer\u0026#xED;a litogr\u0026#xE1;fica en la fabricaci\u0026#xF3;n y comercializaci\u0026#xF3;n de cigarros cubanos.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The Cigar Label Collection at Florida International University (FIU) Special Collections serves as a vital resource for understanding the rich history and cultural significance of the Cuban cigar industry during the early 20th century, in parts of Cuba and global communities. The collection encompasses a wide range of materials dating back to the late 19th century to the mid-20th century, it includes cigar bands and chromolithographic cigar box labels. The collection contains numerous Cuban cigar manufacturers and brands, offering insights into the artistic styles that defined the industry's golden age. Highlighting the intricate artistry of cigar label lithographs and their role in the branding and marketing of Cuban cigars. Preserving these labels would give researchers a chance to see for themselves the delicate process of lithographic imagery in Cuban cigar manufacturing and marketing.","\nLa Colección de Etiquetas de Cigarros en las Special Collections de la Florida International University (FIU) sirve como un recurso vital para comprender la historia y el significado cultural de la industria del cigarro cubano durante el siglo XX, tanto en partes de Cuba como en comunidades globales. La colección abarca una amplia gama de materiales que datan desde finales del siglo XIX hasta mediados del siglo XX, e incluye anillas de cigarros y etiquetas de cajas de cigarros en cromolitografía. La colección contiene numerosos fabricantes y marcas de cigarros cubanos, ofreciendo perspectivas sobre los estilos artísticos que definieron la edad dorada de la industria. Destaca la intrincada artesanía de las litografías de etiquetas de cigarros y su papel en la marca y el marketing de los cigarros cubanos. Preservar estas etiquetas brindaría a los investigadores la oportunidad de observar el delicado proceso de la imaginería litográfica en la fabricación y comercialización de cigarros cubanos."],"userestrict_html_tesm":["\u003cp\u003eRights. The Cigar Label Collection are owned by Florida International University. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Rights. The Cigar Label Collection are owned by Florida International University. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws."],"abstract_html_tesm":["\u003cabstract id=\"aspace_7de0ce202f1579f9c58731ee3ee794be\"\u003eCollection of cigar labels from the late 19th century to the early 20th century.\u003c/abstract\u003e"],"abstract_tesim":["Collection of cigar labels from the late 19th century to the early 20th century."],"names_ssim":["FIU Special Collections","Adlerpost Cigar Company (New York City, New York)","Henry Clay Company (Trenton, New Jersey)","American Lithographic Company","Ramon Alvarez \u0026 Company (Tampa, Florida)","Perfecto Garcia \u0026 Brothers (Ybor City, Tampa, Florida)","Jose Pepin Garcia (Miami, Florida)","S.L. Lee \u0026 Sons (Ybor City, Tampa, Florida)","Consolidated Lithographing Corporation","M.M. Sevis \u0026 Sons (Springvale, Pennsylvania)","C. Garcia \u0026 Cia Habana (Havana, Cuba)","Castle Hall (New York City, New York)","William D. Castro (Miami, Florida)","Bear Company","Maryland Lithographic Company","Cima de Luxe (Esteli, Nicaragua)","Covered Wagon Cigar","Klingenberg Detmond Company","M. Bustillo and Company (Hillsborough County, Tampa, Florida)","El Predomino Cigar Company Manufacturers (Tampa, Florida)","Don Nieto Cigar Factory","San Martin and Son Cigar Company (Hillsborough County, Tampa, Florida)","Moehle Litho Company","David S. Erb \u0026 Co. (Boyertown, Pennsylvania)","Baum-Jaffe Company (Philadelphia, Pennsylvania)","A.W. \u0026 S","Wettig Gedeponeerd (Netherlands)","E. Goss \u0026 Company (San Francisco, California)","G.A.K. \u0026 Company","Wolverine Cigar Company","East Prospect Cigar Company (East Prospect, Pennsylvania)","T. J. Kennedy Tobacco Company","F. Garcia \u0026 Brothers (Hillsborough County, Tampa, Florida)","F. Villar \u0026 Company ","Charles B. Perkins Company (Boston, Massachusetts)","M.H. Smaltz \u0026 Son (Womelsdorf, Pennsylvania)","M. Alonso \u0026 Company","Alfonso Rios \u0026 Company","Charles L. Boak (Harrisburg, Pennsylvania)","Pasbach Voice","H. Upmann (Havana, Cuba)","George S. Harris \u0026 Sons Litho","Heijnen \u0026 Company (Eindhoven, Netherlands)","Louis E. Neuman \u0026 Company Litho","Hofnar Sigarenfabrieken (Netherlands)","Salvador Rodriguez, Inc. (Tampa, Florida)","Compania Litografica de la Habana (Havana, Cuba)","Kerssemakers-Rath \u0026 Company (Netherlands)","Kyra Cigar Company (West Africa)","La Balca Havana Cigars","Calvert Litho Company","S. Hersheim Brothers \u0026 Company (New Orleans, Louisiana)","Moller, Kokeritz \u0026 Company (New York City, New York)","Litho Germany (Germany)","Victor Alvarez (Havana, Cuba)","Krueger \u0026 Braun Litho","C.B. Henschel Manufacturing Company","Corral, Wodiska y Ca.","Meyer Patur Cigar Company (Chicago, Illinois)","G. S. \u0026 Company","J.H. Hamann (Chicago, Illinois)","La Victoria Cigar Corporation (New York City, New York)","B \u0026 B Cigar Company (Kalamazoo, Michigan)","D.S. Erb \u0026 Company (New York City, New York)","Otto Berndt \u0026 Son (Chicago, Illinois)","Leon Real","Grommes and Ulrich Cigar Company (Hillsborough County, Tampa, Florida)","Louis C. Wagner \u0026 Company","M. Bustillo \u0026 Merriam (Hillsborough County, Tampa, Florida)","J.Jimenez Perez (New York City, New York)","Hermann Shott Rheydt","A.C. Henschel \u0026 Company","Moller Koreritz ","P.M. \u0026 F.","Marcelino Perez Cigar Company (Hillsborough County, Tampa, Florida)","Club Royal","Lozano, Pendas, and Company","Wohl \u0026 Comstock Co. ","Litho George Schlegel (New York)","Por Larranaga (Havana, Cuba)","El Arte Cigar Company","John T. Stier \u0026 Sons Cigar Company (Louisville, Kentucky)","Tampa Cuba Cigar Company (Ybor City, Tampa, Florida)","Romeo y Julieta (Havana, Cuba)","Pedro Perez Cigar Company (Ybor City, Tampa, Florida)","The Graham-Ernst Cigar Company","Kohler Snyder Company","J.A. Mcadoo","Louis Heltman Company","Celestino Costello \u0026 Company","H.E. Ackerburg","Golden Bros","A.H. Belo \u0026 Company","Luis Zamorano Gonzalez","Willem II (Netherlands)"],"corpname_ssim":["FIU Special Collections","Adlerpost Cigar Company (New York City, New York)","Henry Clay Company (Trenton, New Jersey)","American Lithographic Company","Ramon Alvarez \u0026 Company (Tampa, Florida)","Perfecto Garcia \u0026 Brothers (Ybor City, Tampa, Florida)","Jose Pepin Garcia (Miami, Florida)","S.L. Lee \u0026 Sons (Ybor City, Tampa, Florida)","Consolidated Lithographing Corporation","M.M. Sevis \u0026 Sons (Springvale, Pennsylvania)","C. Garcia \u0026 Cia Habana (Havana, Cuba)","Castle Hall (New York City, New York)","William D. Castro (Miami, Florida)","Bear Company","Maryland Lithographic Company","Cima de Luxe (Esteli, Nicaragua)","Covered Wagon Cigar","Klingenberg Detmond Company","M. Bustillo and Company (Hillsborough County, Tampa, Florida)","El Predomino Cigar Company Manufacturers (Tampa, Florida)","Don Nieto Cigar Factory","San Martin and Son Cigar Company (Hillsborough County, Tampa, Florida)","Moehle Litho Company","David S. Erb \u0026 Co. (Boyertown, Pennsylvania)","Baum-Jaffe Company (Philadelphia, Pennsylvania)","A.W. \u0026 S","Wettig Gedeponeerd (Netherlands)","E. Goss \u0026 Company (San Francisco, California)","G.A.K. \u0026 Company","Wolverine Cigar Company","East Prospect Cigar Company (East Prospect, Pennsylvania)","T. J. Kennedy Tobacco Company","F. Garcia \u0026 Brothers (Hillsborough County, Tampa, Florida)","F. Villar \u0026 Company ","Charles B. Perkins Company (Boston, Massachusetts)","M.H. Smaltz \u0026 Son (Womelsdorf, Pennsylvania)","M. Alonso \u0026 Company","Alfonso Rios \u0026 Company","Charles L. Boak (Harrisburg, Pennsylvania)","Pasbach Voice","H. Upmann (Havana, Cuba)","George S. Harris \u0026 Sons Litho","Heijnen \u0026 Company (Eindhoven, Netherlands)","Louis E. Neuman \u0026 Company Litho","Hofnar Sigarenfabrieken (Netherlands)","Salvador Rodriguez, Inc. (Tampa, Florida)","Compania Litografica de la Habana (Havana, Cuba)","Kerssemakers-Rath \u0026 Company (Netherlands)","Kyra Cigar Company (West Africa)","La Balca Havana Cigars","Calvert Litho Company","S. Hersheim Brothers \u0026 Company (New Orleans, Louisiana)","Moller, Kokeritz \u0026 Company (New York City, New York)","Litho Germany (Germany)","Victor Alvarez (Havana, Cuba)","Krueger \u0026 Braun Litho","C.B. Henschel Manufacturing Company","Corral, Wodiska y Ca.","Meyer Patur Cigar Company (Chicago, Illinois)","G. S. \u0026 Company","J.H. Hamann (Chicago, Illinois)","La Victoria Cigar Corporation (New York City, New York)","B \u0026 B Cigar Company (Kalamazoo, Michigan)","D.S. Erb \u0026 Company (New York City, New York)","Otto Berndt \u0026 Son (Chicago, Illinois)","Leon Real","Grommes and Ulrich Cigar Company (Hillsborough County, Tampa, Florida)","Louis C. Wagner \u0026 Company","M. Bustillo \u0026 Merriam (Hillsborough County, Tampa, Florida)","J.Jimenez Perez (New York City, New York)","Hermann Shott Rheydt","A.C. Henschel \u0026 Company","Moller Koreritz ","P.M. \u0026 F.","Marcelino Perez Cigar Company (Hillsborough County, Tampa, Florida)","Club Royal","Lozano, Pendas, and Company","Wohl \u0026 Comstock Co. ","Litho George Schlegel (New York)","Por Larranaga (Havana, Cuba)","El Arte Cigar Company","John T. Stier \u0026 Sons Cigar Company (Louisville, Kentucky)","Tampa Cuba Cigar Company (Ybor City, Tampa, Florida)","Romeo y Julieta (Havana, Cuba)","Pedro Perez Cigar Company (Ybor City, Tampa, Florida)","The Graham-Ernst Cigar Company","Kohler Snyder Company","J.A. Mcadoo","Louis Heltman Company","Celestino Costello \u0026 Company","H.E. Ackerburg","Golden Bros","A.H. Belo \u0026 Company","Luis Zamorano Gonzalez","Willem II (Netherlands)"],"language_ssim":["Spanish; Castilian"],"total_component_count_is":217,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870844493513621504,"_root_":"1fb60b2a237557e58ed95300","timestamp":"2026-07-16T04:32:23.451Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"1fb60b2a237557e58ed95300","title_ssm":["Cigar Label Collection"],"title_tesim":["Cigar Label Collection"],"ead_ssi":"1fb60b2a237557e58ed95300","unitdate_ssm":["Dating back to the late 19th century all the way to the mid-20th century."],"unitdate_inclusive_ssm":["Dating back to the late 19th century all the way to the mid-20th century."],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SPC6005","/repositories/2/resources/127"],"text":["SPC6005","/repositories/2/resources/127","Cigar Label Collection, Dating back to the late 19th century all the way to the mid-20th century.","The collection is open for research.","Omar Amador, a Cuban native now residing in Miami, Florida has cultivated an impressive collection of Cuban memorabilia, with a particular focus on chromolithographic cigar labels. His passion for preserving rich cultural heritage of Cuba is reflected in the depth and diversity of his collection. \nThese Cuban cigar labels date back from the late 19th and early 20th centuries as a vibrant testament to the artistry and marketing ingenuity of the cigar industry during this time period. ","With the rise of chromolithography revolutionizing label productions all over the globe, it allowed for the creation of rich, multi-colored designs that adorned cigar boxes to consumers. These labels were not just decorative to cigar-lovers alike but they served as a crucial marketing ploy to demonstrate the quality and craftsmanship behind these cigars. With a collection that features 217 labels that present a diverse range of languages and styles, one can appreciate the artistic heritage that these labels represent. Reflecting not only the local Cuban culture but a broader international context of cigar consumption.","Among the prominent manufacturers featured in this collection of labels, such as M. Bustillo Company, F. Garcia \u0026 Brothers, Alfonso Rios \u0026 Company, and M.M. Sevis \u0026 Sons, amongst other small known companies. Each of these companies contributed uniquely to the visual identity of their products. M. Bustillo Company was really well-known for its elegant designs that would usually incorporate floral motifs and classical themes, while F. Garcia \u0026 Brothers emphasizes the quality and c\nraftsmanship of their cigars through the use of bold and striking imagery. Alfonso Rios \u0026 Company and M.M. Sevis \u0026 Sons both similarly highly focuses on capturing the essence of Cuban heritage in their visual imagery through labels, utilizing local symbols and artistic iconographical styles that resonated with consumers both national and international. ","The important role of lithographers in the creative process of these labels cannot be overstated. Companies such as the American Lithographic Company and the Klingenberg Detmond Company played a pivotal role in producing high-quality chromolithographic labels that would become iconic within the industry. The Klingenberg Detmond Company, for example, was renowned for its meticulous attention to detail and vibrant color palettes for their cigar labels, making them stand out in a competitive market. Other known significant contributors would include the Lithographic Germany, Consolidated Lithographing Corporation, Moehle Lithographic Company, and many more bringing in their own unique techniques and artistic capabilities to the cigar label landscape. Widely known Compania Litografica de la Habana further enriched the offerings by focusing on designs that reflected Cuban identity, integrating local artistic traditions with contemporary printing methods. ","The multilingual aspect of these labels speaks volumes about the global appeal of Cuban cigars and the culture behind them. By catering to a diverse audience, manufacturers ensured that their products reached consumers from various backgrounds, therefore enhancing the cigars' reputation as a symbol of sophistication and status. Labels would often featured languages such as Spanish, English, French, German, and many more, underscoring the international demand for these luxurious products and goods. Collectively, these chromolithographic labels tell such a rich cultural history, blending artistic craftsmanship with the economic and social dynamics of their respective time periods. They will stand as cherished collectibles, offering a glimpse into the vibrant story of Cuban cigar tobacco industry and the enduring allure and aesthetic of its cigars. ","\nOmar Amador, un cubano nativo que ahora reside en Miami, Florida, ha cultivado una impresionante colección de memorabilia cubana, con un enfoque particular en las etiquetas de cigarros en cromolitografía. Su pasión por preservar el rico patrimonio cultural de Cuba se refleja en la profundidad y diversidad de su colección.","Estas etiquetas de cigarros cubanos datan de finales del siglo XIX y principios del siglo XX, como un vibrante testimonio del arte y la ingeniosidad en marketing de la industria del cigarro durante este período. Con el auge de la cromolitografía, que revolucionó la producción de etiquetas en todo el mundo, se permitió la creación de diseños ricos y multicolores que adornaban las cajas de cigarros para los consumidores. Estas etiquetas no solo eran decorativas para los amantes de los cigarros, sino que también servían como una estrategia de marketing crucial para demostrar la calidad y el artesanado detrás de estos cigarros. Con una colección que presenta 217 etiquetas que abarcan una diversa gama de idiomas y estilos, se puede apreciar el patrimonio artístico que estas etiquetas representan, reflejando no solo la cultura local cubana, sino un contexto internacional más amplio del consumo de cigarros.","Entre los destacados fabricantes que aparecen en esta colección de etiquetas, se encuentran la M. Bustillo Company, F. Garcia \u0026 Brothers, Alfonso Rios \u0026 Company y M.M. Sevis \u0026 Sons, entre otras pequeñas empresas menos conocidas. Cada una de estas compañías contribuyó de manera única a la identidad visual de sus productos. El M. Bustillo Company era muy conocida por sus elegantes diseños que generalmente incorporaban motivos florales y temas clásicos, mientras que F. Garcia \u0026 Brothers enfatizaba la calidad y el artesanado de sus cigarros mediante el uso de imágenes audaces y llamativas. Tanto Alfonso Rios \u0026 Company como M.M. Sevis \u0026 Sons se enfocaron en capturar la esencia del patrimonio cubano en su imaginería visual a través de etiquetas, utilizando símbolos locales y estilos iconográficos artísticos que resonaban con los consumidores, tanto nacionales como internacionales.","El importante papel de los litógrafos en el proceso creativo de estas etiquetas no puede ser subestimado. Compañías como la American Lithographic Company y la Klingenberg Detmond Company desempeñaron un papel fundamental en la producción de etiquetas cromolitográficas de alta calidad que se volverían icónicas en la industria. La Klingenberg Detmond Company, por ejemplo, era conocida por su meticulosa atención al detalle y paletas de colores vibrantes para sus etiquetas de cigarros, lo que las hacía destacar en un mercado competitivo. Otros importantes contribuyentes conocidos incluyen Lithographic Germany, Consolidated Lithographing Corporation, Moehle Lithographic Company y muchos más, que aportaron sus propias técnicas únicas y capacidades artísticas al paisaje de las etiquetas de cigarros. La ampliamente conocida Compañía Litográfica de La Habana enriqueció aún más la oferta al enfocarse en diseños que reflejaban la identidad cubana, integrando tradiciones artísticas locales con métodos de impresión contemporáneos.","El aspecto multilingue de estas etiquetas habla mucho sobre el atractivo global de los cigarros cubanos y la cultura que los rodea. Al dirigirse a una audiencia diversa, los fabricantes aseguraron que sus productos llegaran a consumidores de diversos orígenes, mejorando así la reputación de los cigarros como símbolo de sofisticación y estatus. Las etiquetas a menudo presentaban idiomas como español, inglés, francés, alemán y muchos más, subrayando la demanda internacional de estos productos y bienes lujosos. Colectivamente, estas etiquetas cromolitográficas cuentan una rica historia cultural, fusionando la artesanía artística con las dinámicas económicas y sociales de sus respectivos períodos. Se mantendrán como coleccionables apreciados, ofreciendo un vistazo a la vibrante historia de la industria del tabaco de cigarros cubanos y la perdurable atracción y estética de sus cigarros.","Osterweil Collection of Cigar Labels (USF) https://digitalcommons.usf.edu/osterweil/, Tampa Cigar Industry and Art Collection (USF) https://digitalcommons.usf.edu/tampa_cigar_art/, Tobacco Art Collection (UM) https://atom.library.miami.edu/chc5279, Cigar City Collection (DLOC) https://www.dloc.com/results?filter=creator:Cigar%20City%20Collection, Florida Department of State Museum of Florida History https://museumoffloridahistory.com/explore/collections/cigar-box-labels/.","The Cigar Label Collection at Florida International University (FIU) Special Collections serves as a vital resource for understanding the rich history and cultural significance of the Cuban cigar industry during the early 20th century, in parts of Cuba and global communities. The collection encompasses a wide range of materials dating back to the late 19th century to the mid-20th century, it includes cigar bands and chromolithographic cigar box labels. The collection contains numerous Cuban cigar manufacturers and brands, offering insights into the artistic styles that defined the industry's golden age. Highlighting the intricate artistry of cigar label lithographs and their role in the branding and marketing of Cuban cigars. Preserving these labels would give researchers a chance to see for themselves the delicate process of lithographic imagery in Cuban cigar manufacturing and marketing.","\nLa Colección de Etiquetas de Cigarros en las Special Collections de la Florida International University (FIU) sirve como un recurso vital para comprender la historia y el significado cultural de la industria del cigarro cubano durante el siglo XX, tanto en partes de Cuba como en comunidades globales. La colección abarca una amplia gama de materiales que datan desde finales del siglo XIX hasta mediados del siglo XX, e incluye anillas de cigarros y etiquetas de cajas de cigarros en cromolitografía. La colección contiene numerosos fabricantes y marcas de cigarros cubanos, ofreciendo perspectivas sobre los estilos artísticos que definieron la edad dorada de la industria. Destaca la intrincada artesanía de las litografías de etiquetas de cigarros y su papel en la marca y el marketing de los cigarros cubanos. Preservar estas etiquetas brindaría a los investigadores la oportunidad de observar el delicado proceso de la imaginería litográfica en la fabricación y comercialización de cigarros cubanos.","Rights. The Cigar Label Collection are owned by Florida International University. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.","Collection of cigar labels from the late 19th century to the early 20th century.","FIU Special Collections","Adlerpost Cigar Company (New York City, New York)","Henry Clay Company (Trenton, New Jersey)","American Lithographic Company","Ramon Alvarez \u0026 Company (Tampa, Florida)","Perfecto Garcia \u0026 Brothers (Ybor City, Tampa, Florida)","Jose Pepin Garcia (Miami, Florida)","S.L. Lee \u0026 Sons (Ybor City, Tampa, Florida)","Consolidated Lithographing Corporation","M.M. Sevis \u0026 Sons (Springvale, Pennsylvania)","C. Garcia \u0026 Cia Habana (Havana, Cuba)","Castle Hall (New York City, New York)","William D. Castro (Miami, Florida)","Bear Company","Maryland Lithographic Company","Cima de Luxe (Esteli, Nicaragua)","Covered Wagon Cigar","Klingenberg Detmond Company","M. Bustillo and Company (Hillsborough County, Tampa, Florida)","El Predomino Cigar Company Manufacturers (Tampa, Florida)","Don Nieto Cigar Factory","San Martin and Son Cigar Company (Hillsborough County, Tampa, Florida)","Moehle Litho Company","David S. Erb \u0026 Co. (Boyertown, Pennsylvania)","Baum-Jaffe Company (Philadelphia, Pennsylvania)","A.W. \u0026 S","Wettig Gedeponeerd (Netherlands)","E. Goss \u0026 Company (San Francisco, California)","G.A.K. \u0026 Company","Wolverine Cigar Company","East Prospect Cigar Company (East Prospect, Pennsylvania)","T. J. Kennedy Tobacco Company","F. Garcia \u0026 Brothers (Hillsborough County, Tampa, Florida)","F. Villar \u0026 Company ","Charles B. Perkins Company (Boston, Massachusetts)","M.H. Smaltz \u0026 Son (Womelsdorf, Pennsylvania)","M. Alonso \u0026 Company","Alfonso Rios \u0026 Company","Charles L. Boak (Harrisburg, Pennsylvania)","Pasbach Voice","H. Upmann (Havana, Cuba)","George S. Harris \u0026 Sons Litho","Heijnen \u0026 Company (Eindhoven, Netherlands)","Louis E. Neuman \u0026 Company Litho","Hofnar Sigarenfabrieken (Netherlands)","Salvador Rodriguez, Inc. (Tampa, Florida)","Compania Litografica de la Habana (Havana, Cuba)","Kerssemakers-Rath \u0026 Company (Netherlands)","Kyra Cigar Company (West Africa)","La Balca Havana Cigars","Calvert Litho Company","S. Hersheim Brothers \u0026 Company (New Orleans, Louisiana)","Moller, Kokeritz \u0026 Company (New York City, New York)","Litho Germany (Germany)","Victor Alvarez (Havana, Cuba)","Krueger \u0026 Braun Litho","C.B. Henschel Manufacturing Company","Corral, Wodiska y Ca.","Meyer Patur Cigar Company (Chicago, Illinois)","G. S. \u0026 Company","J.H. Hamann (Chicago, Illinois)","La Victoria Cigar Corporation (New York City, New York)","B \u0026 B Cigar Company (Kalamazoo, Michigan)","D.S. Erb \u0026 Company (New York City, New York)","Otto Berndt \u0026 Son (Chicago, Illinois)","Leon Real","Grommes and Ulrich Cigar Company (Hillsborough County, Tampa, Florida)","Louis C. Wagner \u0026 Company","M. Bustillo \u0026 Merriam (Hillsborough County, Tampa, Florida)","J.Jimenez Perez (New York City, New York)","Hermann Shott Rheydt","A.C. Henschel \u0026 Company","Moller Koreritz ","P.M. \u0026 F.","Marcelino Perez Cigar Company (Hillsborough County, Tampa, Florida)","Club Royal","Lozano, Pendas, and Company","Wohl \u0026 Comstock Co. ","Litho George Schlegel (New York)","Por Larranaga (Havana, Cuba)","El Arte Cigar Company","John T. Stier \u0026 Sons Cigar Company (Louisville, Kentucky)","Tampa Cuba Cigar Company (Ybor City, Tampa, Florida)","Romeo y Julieta (Havana, Cuba)","Pedro Perez Cigar Company (Ybor City, Tampa, Florida)","The Graham-Ernst Cigar Company","Kohler Snyder Company","J.A. Mcadoo","Louis Heltman Company","Celestino Costello \u0026 Company","H.E. Ackerburg","Golden Bros","A.H. Belo \u0026 Company","Luis Zamorano Gonzalez","Willem II (Netherlands)","Spanish; Castilian"],"unitid_tesim":["SPC6005","/repositories/2/resources/127"],"normalized_date_ssm":["Dating back to the late 19th century all the way to the mid-20th century."],"normalized_title_ssm":["Cigar Label Collection, Dating back to the late 19th century all the way to the mid-20th century."],"collection_title_tesim":["Cigar Label Collection, Dating back to the late 19th century all the way to the mid-20th century."],"collection_ssim":["Cigar Label Collection, Dating back to the late 19th century all the way to the mid-20th century."],"repository_ssm":["FIU Special Collections"],"repository_ssim":["FIU Special Collections"],"access_terms_ssm":["Rights. The Cigar Label Collection are owned by Florida International University. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws."],"has_online_content_ssim":["false"],"extent_ssm":["217 items"],"extent_tesim":["217 items"],"date_range_isim":[1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research."],"bioghist_html_tesm":["\u003cp\u003eOmar Amador, a Cuban native now residing in Miami, Florida has cultivated an impressive collection of Cuban memorabilia, with a particular focus on chromolithographic cigar labels. His passion for preserving rich cultural heritage of Cuba is reflected in the depth and diversity of his collection. \nThese Cuban cigar labels date back from the late 19th and early 20th centuries as a vibrant testament to the artistry and marketing ingenuity of the cigar industry during this time period. \u003c/p\u003e\n","\u003cp\u003eWith the rise of chromolithography revolutionizing label productions all over the globe, it allowed for the creation of rich, multi-colored designs that adorned cigar boxes to consumers. These labels were not just decorative to cigar-lovers alike but they served as a crucial marketing ploy to demonstrate the quality and craftsmanship behind these cigars. With a collection that features 217 labels that present a diverse range of languages and styles, one can appreciate the artistic heritage that these labels represent. Reflecting not only the local Cuban culture but a broader international context of cigar consumption.\u003c/p\u003e\n","\u003cp\u003eAmong the prominent manufacturers featured in this collection of labels, such as M. Bustillo Company, F. Garcia \u0026amp; Brothers, Alfonso Rios \u0026amp; Company, and M.M. Sevis \u0026amp; Sons, amongst other small known companies. Each of these companies contributed uniquely to the visual identity of their products. M. Bustillo Company was really well-known for its elegant designs that would usually incorporate floral motifs and classical themes, while F. Garcia \u0026amp; Brothers emphasizes the quality and c\nraftsmanship of their cigars through the use of bold and striking imagery. Alfonso Rios \u0026amp; Company and M.M. Sevis \u0026amp; Sons both similarly highly focuses on capturing the essence of Cuban heritage in their visual imagery through labels, utilizing local symbols and artistic iconographical styles that resonated with consumers both national and international. \u003c/p\u003e\n","\u003cp\u003eThe important role of lithographers in the creative process of these labels cannot be overstated. Companies such as the American Lithographic Company and the Klingenberg Detmond Company played a pivotal role in producing high-quality chromolithographic labels that would become iconic within the industry. The Klingenberg Detmond Company, for example, was renowned for its meticulous attention to detail and vibrant color palettes for their cigar labels, making them stand out in a competitive market. Other known significant contributors would include the Lithographic Germany, Consolidated Lithographing Corporation, Moehle Lithographic Company, and many more bringing in their own unique techniques and artistic capabilities to the cigar label landscape. Widely known Compania Litografica de la Habana further enriched the offerings by focusing on designs that reflected Cuban identity, integrating local artistic traditions with contemporary printing methods. \u003c/p\u003e\n","\u003cp\u003eThe multilingual aspect of these labels speaks volumes about the global appeal of Cuban cigars and the culture behind them. By catering to a diverse audience, manufacturers ensured that their products reached consumers from various backgrounds, therefore enhancing the cigars' reputation as a symbol of sophistication and status. Labels would often featured languages such as Spanish, English, French, German, and many more, underscoring the international demand for these luxurious products and goods. Collectively, these chromolithographic labels tell such a rich cultural history, blending artistic craftsmanship with the economic and social dynamics of their respective time periods. They will stand as cherished collectibles, offering a glimpse into the vibrant story of Cuban cigar tobacco industry and the enduring allure and aesthetic of its cigars. \u003c/p\u003e\n","\u003cp\u003e\nOmar Amador, un cubano nativo que ahora reside en Miami, Florida, ha cultivado una impresionante colecci\u0026#xF3;n de memorabilia cubana, con un enfoque particular en las etiquetas de cigarros en cromolitograf\u0026#xED;a. Su pasi\u0026#xF3;n por preservar el rico patrimonio cultural de Cuba se refleja en la profundidad y diversidad de su colecci\u0026#xF3;n.\u003c/p\u003e\n","\u003cp\u003eEstas etiquetas de cigarros cubanos datan de finales del siglo XIX y principios del siglo XX, como un vibrante testimonio del arte y la ingeniosidad en marketing de la industria del cigarro durante este per\u0026#xED;odo. Con el auge de la cromolitograf\u0026#xED;a, que revolucion\u0026#xF3; la producci\u0026#xF3;n de etiquetas en todo el mundo, se permiti\u0026#xF3; la creaci\u0026#xF3;n de dise\u0026#xF1;os ricos y multicolores que adornaban las cajas de cigarros para los consumidores. Estas etiquetas no solo eran decorativas para los amantes de los cigarros, sino que tambi\u0026#xE9;n serv\u0026#xED;an como una estrategia de marketing crucial para demostrar la calidad y el artesanado detr\u0026#xE1;s de estos cigarros. Con una colecci\u0026#xF3;n que presenta 217 etiquetas que abarcan una diversa gama de idiomas y estilos, se puede apreciar el patrimonio art\u0026#xED;stico que estas etiquetas representan, reflejando no solo la cultura local cubana, sino un contexto internacional m\u0026#xE1;s amplio del consumo de cigarros.\u003c/p\u003e\n","\u003cp\u003eEntre los destacados fabricantes que aparecen en esta colecci\u0026#xF3;n de etiquetas, se encuentran la M. Bustillo Company, F. Garcia \u0026amp; Brothers, Alfonso Rios \u0026amp; Company y M.M. Sevis \u0026amp; Sons, entre otras peque\u0026#xF1;as empresas menos conocidas. Cada una de estas compa\u0026#xF1;\u0026#xED;as contribuy\u0026#xF3; de manera \u0026#xFA;nica a la identidad visual de sus productos. El M. Bustillo Company era muy conocida por sus elegantes dise\u0026#xF1;os que generalmente incorporaban motivos florales y temas cl\u0026#xE1;sicos, mientras que F. Garcia \u0026amp; Brothers enfatizaba la calidad y el artesanado de sus cigarros mediante el uso de im\u0026#xE1;genes audaces y llamativas. Tanto Alfonso Rios \u0026amp; Company como M.M. Sevis \u0026amp; Sons se enfocaron en capturar la esencia del patrimonio cubano en su imaginer\u0026#xED;a visual a trav\u0026#xE9;s de etiquetas, utilizando s\u0026#xED;mbolos locales y estilos iconogr\u0026#xE1;ficos art\u0026#xED;sticos que resonaban con los consumidores, tanto nacionales como internacionales.\u003c/p\u003e\n","\u003cp\u003eEl importante papel de los lit\u0026#xF3;grafos en el proceso creativo de estas etiquetas no puede ser subestimado. Compa\u0026#xF1;\u0026#xED;as como la American Lithographic Company y la Klingenberg Detmond Company desempe\u0026#xF1;aron un papel fundamental en la producci\u0026#xF3;n de etiquetas cromolitogr\u0026#xE1;ficas de alta calidad que se volver\u0026#xED;an ic\u0026#xF3;nicas en la industria. La Klingenberg Detmond Company, por ejemplo, era conocida por su meticulosa atenci\u0026#xF3;n al detalle y paletas de colores vibrantes para sus etiquetas de cigarros, lo que las hac\u0026#xED;a destacar en un mercado competitivo. Otros importantes contribuyentes conocidos incluyen Lithographic Germany, Consolidated Lithographing Corporation, Moehle Lithographic Company y muchos m\u0026#xE1;s, que aportaron sus propias t\u0026#xE9;cnicas \u0026#xFA;nicas y capacidades art\u0026#xED;sticas al paisaje de las etiquetas de cigarros. La ampliamente conocida Compa\u0026#xF1;\u0026#xED;a Litogr\u0026#xE1;fica de La Habana enriqueci\u0026#xF3; a\u0026#xFA;n m\u0026#xE1;s la oferta al enfocarse en dise\u0026#xF1;os que reflejaban la identidad cubana, integrando tradiciones art\u0026#xED;sticas locales con m\u0026#xE9;todos de impresi\u0026#xF3;n contempor\u0026#xE1;neos.\u003c/p\u003e\n","\u003cp\u003eEl aspecto multilingue de estas etiquetas habla mucho sobre el atractivo global de los cigarros cubanos y la cultura que los rodea. Al dirigirse a una audiencia diversa, los fabricantes aseguraron que sus productos llegaran a consumidores de diversos or\u0026#xED;genes, mejorando as\u0026#xED; la reputaci\u0026#xF3;n de los cigarros como s\u0026#xED;mbolo de sofisticaci\u0026#xF3;n y estatus. Las etiquetas a menudo presentaban idiomas como espa\u0026#xF1;ol, ingl\u0026#xE9;s, franc\u0026#xE9;s, alem\u0026#xE1;n y muchos m\u0026#xE1;s, subrayando la demanda internacional de estos productos y bienes lujosos. Colectivamente, estas etiquetas cromolitogr\u0026#xE1;ficas cuentan una rica historia cultural, fusionando la artesan\u0026#xED;a art\u0026#xED;stica con las din\u0026#xE1;micas econ\u0026#xF3;micas y sociales de sus respectivos per\u0026#xED;odos. Se mantendr\u0026#xE1;n como coleccionables apreciados, ofreciendo un vistazo a la vibrante historia de la industria del tabaco de cigarros cubanos y la perdurable atracci\u0026#xF3;n y est\u0026#xE9;tica de sus cigarros.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Omar Amador, a Cuban native now residing in Miami, Florida has cultivated an impressive collection of Cuban memorabilia, with a particular focus on chromolithographic cigar labels. His passion for preserving rich cultural heritage of Cuba is reflected in the depth and diversity of his collection. \nThese Cuban cigar labels date back from the late 19th and early 20th centuries as a vibrant testament to the artistry and marketing ingenuity of the cigar industry during this time period. ","With the rise of chromolithography revolutionizing label productions all over the globe, it allowed for the creation of rich, multi-colored designs that adorned cigar boxes to consumers. These labels were not just decorative to cigar-lovers alike but they served as a crucial marketing ploy to demonstrate the quality and craftsmanship behind these cigars. With a collection that features 217 labels that present a diverse range of languages and styles, one can appreciate the artistic heritage that these labels represent. Reflecting not only the local Cuban culture but a broader international context of cigar consumption.","Among the prominent manufacturers featured in this collection of labels, such as M. Bustillo Company, F. Garcia \u0026 Brothers, Alfonso Rios \u0026 Company, and M.M. Sevis \u0026 Sons, amongst other small known companies. Each of these companies contributed uniquely to the visual identity of their products. M. Bustillo Company was really well-known for its elegant designs that would usually incorporate floral motifs and classical themes, while F. Garcia \u0026 Brothers emphasizes the quality and c\nraftsmanship of their cigars through the use of bold and striking imagery. Alfonso Rios \u0026 Company and M.M. Sevis \u0026 Sons both similarly highly focuses on capturing the essence of Cuban heritage in their visual imagery through labels, utilizing local symbols and artistic iconographical styles that resonated with consumers both national and international. ","The important role of lithographers in the creative process of these labels cannot be overstated. Companies such as the American Lithographic Company and the Klingenberg Detmond Company played a pivotal role in producing high-quality chromolithographic labels that would become iconic within the industry. The Klingenberg Detmond Company, for example, was renowned for its meticulous attention to detail and vibrant color palettes for their cigar labels, making them stand out in a competitive market. Other known significant contributors would include the Lithographic Germany, Consolidated Lithographing Corporation, Moehle Lithographic Company, and many more bringing in their own unique techniques and artistic capabilities to the cigar label landscape. Widely known Compania Litografica de la Habana further enriched the offerings by focusing on designs that reflected Cuban identity, integrating local artistic traditions with contemporary printing methods. ","The multilingual aspect of these labels speaks volumes about the global appeal of Cuban cigars and the culture behind them. By catering to a diverse audience, manufacturers ensured that their products reached consumers from various backgrounds, therefore enhancing the cigars' reputation as a symbol of sophistication and status. Labels would often featured languages such as Spanish, English, French, German, and many more, underscoring the international demand for these luxurious products and goods. Collectively, these chromolithographic labels tell such a rich cultural history, blending artistic craftsmanship with the economic and social dynamics of their respective time periods. They will stand as cherished collectibles, offering a glimpse into the vibrant story of Cuban cigar tobacco industry and the enduring allure and aesthetic of its cigars. ","\nOmar Amador, un cubano nativo que ahora reside en Miami, Florida, ha cultivado una impresionante colección de memorabilia cubana, con un enfoque particular en las etiquetas de cigarros en cromolitografía. Su pasión por preservar el rico patrimonio cultural de Cuba se refleja en la profundidad y diversidad de su colección.","Estas etiquetas de cigarros cubanos datan de finales del siglo XIX y principios del siglo XX, como un vibrante testimonio del arte y la ingeniosidad en marketing de la industria del cigarro durante este período. Con el auge de la cromolitografía, que revolucionó la producción de etiquetas en todo el mundo, se permitió la creación de diseños ricos y multicolores que adornaban las cajas de cigarros para los consumidores. Estas etiquetas no solo eran decorativas para los amantes de los cigarros, sino que también servían como una estrategia de marketing crucial para demostrar la calidad y el artesanado detrás de estos cigarros. Con una colección que presenta 217 etiquetas que abarcan una diversa gama de idiomas y estilos, se puede apreciar el patrimonio artístico que estas etiquetas representan, reflejando no solo la cultura local cubana, sino un contexto internacional más amplio del consumo de cigarros.","Entre los destacados fabricantes que aparecen en esta colección de etiquetas, se encuentran la M. Bustillo Company, F. Garcia \u0026 Brothers, Alfonso Rios \u0026 Company y M.M. Sevis \u0026 Sons, entre otras pequeñas empresas menos conocidas. Cada una de estas compañías contribuyó de manera única a la identidad visual de sus productos. El M. Bustillo Company era muy conocida por sus elegantes diseños que generalmente incorporaban motivos florales y temas clásicos, mientras que F. Garcia \u0026 Brothers enfatizaba la calidad y el artesanado de sus cigarros mediante el uso de imágenes audaces y llamativas. Tanto Alfonso Rios \u0026 Company como M.M. Sevis \u0026 Sons se enfocaron en capturar la esencia del patrimonio cubano en su imaginería visual a través de etiquetas, utilizando símbolos locales y estilos iconográficos artísticos que resonaban con los consumidores, tanto nacionales como internacionales.","El importante papel de los litógrafos en el proceso creativo de estas etiquetas no puede ser subestimado. Compañías como la American Lithographic Company y la Klingenberg Detmond Company desempeñaron un papel fundamental en la producción de etiquetas cromolitográficas de alta calidad que se volverían icónicas en la industria. La Klingenberg Detmond Company, por ejemplo, era conocida por su meticulosa atención al detalle y paletas de colores vibrantes para sus etiquetas de cigarros, lo que las hacía destacar en un mercado competitivo. Otros importantes contribuyentes conocidos incluyen Lithographic Germany, Consolidated Lithographing Corporation, Moehle Lithographic Company y muchos más, que aportaron sus propias técnicas únicas y capacidades artísticas al paisaje de las etiquetas de cigarros. La ampliamente conocida Compañía Litográfica de La Habana enriqueció aún más la oferta al enfocarse en diseños que reflejaban la identidad cubana, integrando tradiciones artísticas locales con métodos de impresión contemporáneos.","El aspecto multilingue de estas etiquetas habla mucho sobre el atractivo global de los cigarros cubanos y la cultura que los rodea. Al dirigirse a una audiencia diversa, los fabricantes aseguraron que sus productos llegaran a consumidores de diversos orígenes, mejorando así la reputación de los cigarros como símbolo de sofisticación y estatus. Las etiquetas a menudo presentaban idiomas como español, inglés, francés, alemán y muchos más, subrayando la demanda internacional de estos productos y bienes lujosos. Colectivamente, estas etiquetas cromolitográficas cuentan una rica historia cultural, fusionando la artesanía artística con las dinámicas económicas y sociales de sus respectivos períodos. Se mantendrán como coleccionables apreciados, ofreciendo un vistazo a la vibrante historia de la industria del tabaco de cigarros cubanos y la perdurable atracción y estética de sus cigarros."],"relatedmaterial_html_tesm":["\u003cp\u003eOsterweil Collection of Cigar Labels (USF) https://digitalcommons.usf.edu/osterweil/, Tampa Cigar Industry and Art Collection (USF) https://digitalcommons.usf.edu/tampa_cigar_art/, Tobacco Art Collection (UM) https://atom.library.miami.edu/chc5279, Cigar City Collection (DLOC) https://www.dloc.com/results?filter=creator:Cigar%20City%20Collection, Florida Department of State Museum of Florida History https://museumoffloridahistory.com/explore/collections/cigar-box-labels/.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Osterweil Collection of Cigar Labels (USF) https://digitalcommons.usf.edu/osterweil/, Tampa Cigar Industry and Art Collection (USF) https://digitalcommons.usf.edu/tampa_cigar_art/, Tobacco Art Collection (UM) https://atom.library.miami.edu/chc5279, Cigar City Collection (DLOC) https://www.dloc.com/results?filter=creator:Cigar%20City%20Collection, Florida Department of State Museum of Florida History https://museumoffloridahistory.com/explore/collections/cigar-box-labels/."],"scopecontent_html_tesm":["\u003cp\u003eThe Cigar Label Collection at Florida International University (FIU) Special Collections serves as a vital resource for understanding the rich history and cultural significance of the Cuban cigar industry during the early 20th century, in parts of Cuba and global communities. The collection encompasses a wide range of materials dating back to the late 19th century to the mid-20th century, it includes cigar bands and chromolithographic cigar box labels. The collection contains numerous Cuban cigar manufacturers and brands, offering insights into the artistic styles that defined the industry's golden age. Highlighting the intricate artistry of cigar label lithographs and their role in the branding and marketing of Cuban cigars. Preserving these labels would give researchers a chance to see for themselves the delicate process of lithographic imagery in Cuban cigar manufacturing and marketing.\u003c/p\u003e\n","\u003cp\u003e\nLa Colecci\u0026#xF3;n de Etiquetas de Cigarros en las Special Collections de la Florida International University (FIU) sirve como un recurso vital para comprender la historia y el significado cultural de la industria del cigarro cubano durante el siglo XX, tanto en partes de Cuba como en comunidades globales. La colecci\u0026#xF3;n abarca una amplia gama de materiales que datan desde finales del siglo XIX hasta mediados del siglo XX, e incluye anillas de cigarros y etiquetas de cajas de cigarros en cromolitograf\u0026#xED;a. La colecci\u0026#xF3;n contiene numerosos fabricantes y marcas de cigarros cubanos, ofreciendo perspectivas sobre los estilos art\u0026#xED;sticos que definieron la edad dorada de la industria. Destaca la intrincada artesan\u0026#xED;a de las litograf\u0026#xED;as de etiquetas de cigarros y su papel en la marca y el marketing de los cigarros cubanos. Preservar estas etiquetas brindar\u0026#xED;a a los investigadores la oportunidad de observar el delicado proceso de la imaginer\u0026#xED;a litogr\u0026#xE1;fica en la fabricaci\u0026#xF3;n y comercializaci\u0026#xF3;n de cigarros cubanos.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The Cigar Label Collection at Florida International University (FIU) Special Collections serves as a vital resource for understanding the rich history and cultural significance of the Cuban cigar industry during the early 20th century, in parts of Cuba and global communities. The collection encompasses a wide range of materials dating back to the late 19th century to the mid-20th century, it includes cigar bands and chromolithographic cigar box labels. The collection contains numerous Cuban cigar manufacturers and brands, offering insights into the artistic styles that defined the industry's golden age. Highlighting the intricate artistry of cigar label lithographs and their role in the branding and marketing of Cuban cigars. Preserving these labels would give researchers a chance to see for themselves the delicate process of lithographic imagery in Cuban cigar manufacturing and marketing.","\nLa Colección de Etiquetas de Cigarros en las Special Collections de la Florida International University (FIU) sirve como un recurso vital para comprender la historia y el significado cultural de la industria del cigarro cubano durante el siglo XX, tanto en partes de Cuba como en comunidades globales. La colección abarca una amplia gama de materiales que datan desde finales del siglo XIX hasta mediados del siglo XX, e incluye anillas de cigarros y etiquetas de cajas de cigarros en cromolitografía. La colección contiene numerosos fabricantes y marcas de cigarros cubanos, ofreciendo perspectivas sobre los estilos artísticos que definieron la edad dorada de la industria. Destaca la intrincada artesanía de las litografías de etiquetas de cigarros y su papel en la marca y el marketing de los cigarros cubanos. Preservar estas etiquetas brindaría a los investigadores la oportunidad de observar el delicado proceso de la imaginería litográfica en la fabricación y comercialización de cigarros cubanos."],"userestrict_html_tesm":["\u003cp\u003eRights. The Cigar Label Collection are owned by Florida International University. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Rights. The Cigar Label Collection are owned by Florida International University. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws."],"abstract_html_tesm":["\u003cabstract id=\"aspace_7de0ce202f1579f9c58731ee3ee794be\"\u003eCollection of cigar labels from the late 19th century to the early 20th century.\u003c/abstract\u003e"],"abstract_tesim":["Collection of cigar labels from the late 19th century to the early 20th century."],"names_ssim":["FIU Special Collections","Adlerpost Cigar Company (New York City, New York)","Henry Clay Company (Trenton, New Jersey)","American Lithographic Company","Ramon Alvarez \u0026 Company (Tampa, Florida)","Perfecto Garcia \u0026 Brothers (Ybor City, Tampa, Florida)","Jose Pepin Garcia (Miami, Florida)","S.L. Lee \u0026 Sons (Ybor City, Tampa, Florida)","Consolidated Lithographing Corporation","M.M. Sevis \u0026 Sons (Springvale, Pennsylvania)","C. Garcia \u0026 Cia Habana (Havana, Cuba)","Castle Hall (New York City, New York)","William D. Castro (Miami, Florida)","Bear Company","Maryland Lithographic Company","Cima de Luxe (Esteli, Nicaragua)","Covered Wagon Cigar","Klingenberg Detmond Company","M. Bustillo and Company (Hillsborough County, Tampa, Florida)","El Predomino Cigar Company Manufacturers (Tampa, Florida)","Don Nieto Cigar Factory","San Martin and Son Cigar Company (Hillsborough County, Tampa, Florida)","Moehle Litho Company","David S. Erb \u0026 Co. (Boyertown, Pennsylvania)","Baum-Jaffe Company (Philadelphia, Pennsylvania)","A.W. \u0026 S","Wettig Gedeponeerd (Netherlands)","E. Goss \u0026 Company (San Francisco, California)","G.A.K. \u0026 Company","Wolverine Cigar Company","East Prospect Cigar Company (East Prospect, Pennsylvania)","T. J. Kennedy Tobacco Company","F. Garcia \u0026 Brothers (Hillsborough County, Tampa, Florida)","F. Villar \u0026 Company ","Charles B. Perkins Company (Boston, Massachusetts)","M.H. Smaltz \u0026 Son (Womelsdorf, Pennsylvania)","M. Alonso \u0026 Company","Alfonso Rios \u0026 Company","Charles L. Boak (Harrisburg, Pennsylvania)","Pasbach Voice","H. Upmann (Havana, Cuba)","George S. Harris \u0026 Sons Litho","Heijnen \u0026 Company (Eindhoven, Netherlands)","Louis E. Neuman \u0026 Company Litho","Hofnar Sigarenfabrieken (Netherlands)","Salvador Rodriguez, Inc. (Tampa, Florida)","Compania Litografica de la Habana (Havana, Cuba)","Kerssemakers-Rath \u0026 Company (Netherlands)","Kyra Cigar Company (West Africa)","La Balca Havana Cigars","Calvert Litho Company","S. Hersheim Brothers \u0026 Company (New Orleans, Louisiana)","Moller, Kokeritz \u0026 Company (New York City, New York)","Litho Germany (Germany)","Victor Alvarez (Havana, Cuba)","Krueger \u0026 Braun Litho","C.B. Henschel Manufacturing Company","Corral, Wodiska y Ca.","Meyer Patur Cigar Company (Chicago, Illinois)","G. S. \u0026 Company","J.H. Hamann (Chicago, Illinois)","La Victoria Cigar Corporation (New York City, New York)","B \u0026 B Cigar Company (Kalamazoo, Michigan)","D.S. Erb \u0026 Company (New York City, New York)","Otto Berndt \u0026 Son (Chicago, Illinois)","Leon Real","Grommes and Ulrich Cigar Company (Hillsborough County, Tampa, Florida)","Louis C. Wagner \u0026 Company","M. Bustillo \u0026 Merriam (Hillsborough County, Tampa, Florida)","J.Jimenez Perez (New York City, New York)","Hermann Shott Rheydt","A.C. Henschel \u0026 Company","Moller Koreritz ","P.M. \u0026 F.","Marcelino Perez Cigar Company (Hillsborough County, Tampa, Florida)","Club Royal","Lozano, Pendas, and Company","Wohl \u0026 Comstock Co. ","Litho George Schlegel (New York)","Por Larranaga (Havana, Cuba)","El Arte Cigar Company","John T. Stier \u0026 Sons Cigar Company (Louisville, Kentucky)","Tampa Cuba Cigar Company (Ybor City, Tampa, Florida)","Romeo y Julieta (Havana, Cuba)","Pedro Perez Cigar Company (Ybor City, Tampa, Florida)","The Graham-Ernst Cigar Company","Kohler Snyder Company","J.A. Mcadoo","Louis Heltman Company","Celestino Costello \u0026 Company","H.E. Ackerburg","Golden Bros","A.H. Belo \u0026 Company","Luis Zamorano Gonzalez","Willem II (Netherlands)"],"corpname_ssim":["FIU Special Collections","Adlerpost Cigar Company (New York City, New York)","Henry Clay Company (Trenton, New Jersey)","American Lithographic Company","Ramon Alvarez \u0026 Company (Tampa, Florida)","Perfecto Garcia \u0026 Brothers (Ybor City, Tampa, Florida)","Jose Pepin Garcia (Miami, Florida)","S.L. Lee \u0026 Sons (Ybor City, Tampa, Florida)","Consolidated Lithographing Corporation","M.M. Sevis \u0026 Sons (Springvale, Pennsylvania)","C. Garcia \u0026 Cia Habana (Havana, Cuba)","Castle Hall (New York City, New York)","William D. Castro (Miami, Florida)","Bear Company","Maryland Lithographic Company","Cima de Luxe (Esteli, Nicaragua)","Covered Wagon Cigar","Klingenberg Detmond Company","M. Bustillo and Company (Hillsborough County, Tampa, Florida)","El Predomino Cigar Company Manufacturers (Tampa, Florida)","Don Nieto Cigar Factory","San Martin and Son Cigar Company (Hillsborough County, Tampa, Florida)","Moehle Litho Company","David S. Erb \u0026 Co. (Boyertown, Pennsylvania)","Baum-Jaffe Company (Philadelphia, Pennsylvania)","A.W. \u0026 S","Wettig Gedeponeerd (Netherlands)","E. Goss \u0026 Company (San Francisco, California)","G.A.K. \u0026 Company","Wolverine Cigar Company","East Prospect Cigar Company (East Prospect, Pennsylvania)","T. J. Kennedy Tobacco Company","F. Garcia \u0026 Brothers (Hillsborough County, Tampa, Florida)","F. Villar \u0026 Company ","Charles B. Perkins Company (Boston, Massachusetts)","M.H. Smaltz \u0026 Son (Womelsdorf, Pennsylvania)","M. Alonso \u0026 Company","Alfonso Rios \u0026 Company","Charles L. Boak (Harrisburg, Pennsylvania)","Pasbach Voice","H. Upmann (Havana, Cuba)","George S. Harris \u0026 Sons Litho","Heijnen \u0026 Company (Eindhoven, Netherlands)","Louis E. Neuman \u0026 Company Litho","Hofnar Sigarenfabrieken (Netherlands)","Salvador Rodriguez, Inc. (Tampa, Florida)","Compania Litografica de la Habana (Havana, Cuba)","Kerssemakers-Rath \u0026 Company (Netherlands)","Kyra Cigar Company (West Africa)","La Balca Havana Cigars","Calvert Litho Company","S. Hersheim Brothers \u0026 Company (New Orleans, Louisiana)","Moller, Kokeritz \u0026 Company (New York City, New York)","Litho Germany (Germany)","Victor Alvarez (Havana, Cuba)","Krueger \u0026 Braun Litho","C.B. Henschel Manufacturing Company","Corral, Wodiska y Ca.","Meyer Patur Cigar Company (Chicago, Illinois)","G. S. \u0026 Company","J.H. Hamann (Chicago, Illinois)","La Victoria Cigar Corporation (New York City, New York)","B \u0026 B Cigar Company (Kalamazoo, Michigan)","D.S. Erb \u0026 Company (New York City, New York)","Otto Berndt \u0026 Son (Chicago, Illinois)","Leon Real","Grommes and Ulrich Cigar Company (Hillsborough County, Tampa, Florida)","Louis C. Wagner \u0026 Company","M. Bustillo \u0026 Merriam (Hillsborough County, Tampa, Florida)","J.Jimenez Perez (New York City, New York)","Hermann Shott Rheydt","A.C. Henschel \u0026 Company","Moller Koreritz ","P.M. \u0026 F.","Marcelino Perez Cigar Company (Hillsborough County, Tampa, Florida)","Club Royal","Lozano, Pendas, and Company","Wohl \u0026 Comstock Co. ","Litho George Schlegel (New York)","Por Larranaga (Havana, Cuba)","El Arte Cigar Company","John T. Stier \u0026 Sons Cigar Company (Louisville, Kentucky)","Tampa Cuba Cigar Company (Ybor City, Tampa, Florida)","Romeo y Julieta (Havana, Cuba)","Pedro Perez Cigar Company (Ybor City, Tampa, Florida)","The Graham-Ernst Cigar Company","Kohler Snyder Company","J.A. Mcadoo","Louis Heltman Company","Celestino Costello \u0026 Company","H.E. Ackerburg","Golden Bros","A.H. Belo \u0026 Company","Luis Zamorano Gonzalez","Willem II (Netherlands)"],"language_ssim":["Spanish; Castilian"],"total_component_count_is":217,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870844493513621504,"_root_":"1fb60b2a237557e58ed95300","timestamp":"2026-07-16T04:32:23.451Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/1fb60b2a237557e58ed95300"}},{"id":"b24f066927c0aa3f96b9dff7_aspace_6e46dea36c690a1d970db9e9ca566167","type":"Item","attributes":{"title":"Cine-Kodak Model B Camera, 1927","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/b24f066927c0aa3f96b9dff7_aspace_6e46dea36c690a1d970db9e9ca566167#abstract_or_scope","type":"document_value","attributes":{"value":["\u003cp\u003eCine-Kodak Model B Motion Picture Camera from 1927.\u003c/p\u003e"],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/b24f066927c0aa3f96b9dff7_aspace_6e46dea36c690a1d970db9e9ca566167#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_6e46dea36c690a1d970db9e9ca566167","ref_ssm":["aspace_6e46dea36c690a1d970db9e9ca566167","aspace_6e46dea36c690a1d970db9e9ca566167"],"id":"b24f066927c0aa3f96b9dff7_aspace_6e46dea36c690a1d970db9e9ca566167","title_filing_ssi":"Cine-Kodak Model B Camera","title_ssm":["Cine-Kodak Model B Camera"],"title_tesim":["Cine-Kodak Model B Camera"],"unitdate_other_ssim":["1927"],"normalized_date_ssm":["1927"],"normalized_title_ssm":["Cine-Kodak Model B Camera, 1927"],"text":["Cine-Kodak Model B Camera, 1927","Kirkpatrick Kodak Film Camera Collection, bulk 1907-2010","Cameras and Equipment","Box 2","/repositories/2/archival_objects/57885","Eastman Kodak Company","Kodak camera.","Eastman Kodak Company.","Box: 2","Cine-Kodak Model B Motion Picture Camera from 1927."],"component_level_isim":[3],"parent_ids_ssim":["b24f066927c0aa3f96b9dff7","b24f066927c0aa3f96b9dff7_aspace_46d258806f5be5fbb9237c6a0a85c155","b24f066927c0aa3f96b9dff7_aspace_b7eca5840ca450d96608a80168efe1fe"],"parent_unittitles_ssm":["Kirkpatrick Kodak Film Camera Collection, bulk 1907-2010","Cameras and Equipment","Box 2"],"parent_unittitles_tesim":["Kirkpatrick Kodak Film Camera Collection, bulk 1907-2010","Cameras and Equipment","Box 2"],"parent_levels_ssm":["collection","Series","Box"],"unitid_ssm":["/repositories/2/archival_objects/57885"],"repository_ssim":["Florida Gulf Coast University Special Collections"],"collection_ssim":["Kirkpatrick Kodak Film Camera Collection, bulk 1907-2010"],"creator_ssim":["Eastman Kodak Company"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":103,"parent_access_restrict_tesm":["The collection is open for use."],"date_range_isim":[1927],"names_ssim":["Eastman Kodak Company"],"corpname_ssim":["Eastman Kodak Company"],"geogname_ssim":["Kodak camera."],"geogname_ssm":["Kodak camera."],"places_ssim":["Kodak camera."],"access_subjects_ssim":["Eastman Kodak Company."],"access_subjects_ssm":["Eastman Kodak Company."],"containers_ssim":["Box: 2"],"scopecontent_html_tesm":["\u003cp\u003eCine-Kodak Model B Motion Picture Camera from 1927.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Cine-Kodak Model B Motion Picture Camera from 1927."],"_nest_path_":"/components#1/components#0/components#3","_nest_parent_":"b24f066927c0aa3f96b9dff7_aspace_b7eca5840ca450d96608a80168efe1fe","_root_":"b24f066927c0aa3f96b9dff7","_version_":1879903224713969664,"timestamp":"2026-10-24T04:17:02.734Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"b24f066927c0aa3f96b9dff7","title_ssm":["Kirkpatrick Kodak Film Camera Collection"],"title_tesim":["Kirkpatrick Kodak Film Camera Collection"],"ead_ssi":"b24f066927c0aa3f96b9dff7","unitdate_ssm":["1907-2010"],"unitdate_bulk_ssim":["1907-2010"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["RG 02/03/19","/repositories/2/resources/27"],"text":["RG 02/03/19","/repositories/2/resources/27","Kirkpatrick Kodak Film Camera Collection, bulk 1907-2010","Kodak camera.","Brownie camera","Digital cameras.","The collection is open for use.","The collection is organized in two series: Series 1, Camera Equipment; and Series 2, Kodak Annual Reports and Magazines: 1922-2001.","This collection includes a wide array of cameras spanning centuries, accessories to go with cameras, magazines, and annual reports from Kodak.","Range: 9A, Section 2: Shelf: 2-3\nRange: 9A, Section: 3, Shelf: 1-6","Florida Gulf Coast University Special Collections","Eastman Kodak Company","Kross, Walter, active 1934-1956","English"],"unitid_tesim":["RG 02/03/19","/repositories/2/resources/27"],"normalized_date_ssm":["bulk 1907-2010"],"normalized_title_ssm":["Kirkpatrick Kodak Film Camera Collection, bulk 1907-2010"],"collection_title_tesim":["Kirkpatrick Kodak Film Camera Collection, bulk 1907-2010"],"collection_ssim":["Kirkpatrick Kodak Film Camera Collection, bulk 1907-2010"],"repository_ssm":["Florida Gulf Coast University Special Collections"],"repository_ssim":["Florida Gulf Coast University Special Collections"],"geogname_ssm":["Kodak camera.","Brownie camera","Digital cameras."],"geogname_ssim":["Kodak camera.","Brownie camera","Digital cameras."],"places_ssim":["Kodak camera.","Brownie camera","Digital cameras."],"has_online_content_ssim":["false"],"extent_ssm":["18 Linear Feet"],"extent_tesim":["18 Linear Feet"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for use.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for use."],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized in two series: Series 1, Camera Equipment; and Series 2, Kodak Annual Reports and Magazines: 1922-2001.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["The collection is organized in two series: Series 1, Camera Equipment; and Series 2, Kodak Annual Reports and Magazines: 1922-2001."],"scopecontent_html_tesm":["\u003cp\u003eThis collection includes a wide array of cameras spanning centuries, accessories to go with cameras, magazines, and annual reports from Kodak.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection includes a wide array of cameras spanning centuries, accessories to go with cameras, magazines, and annual reports from Kodak."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_f2d663b8f3e85e4a4f1966cf577d7003\"\u003eRange: 9A, Section 2: Shelf: 2-3\nRange: 9A, Section: 3, Shelf: 1-6\u003c/physloc\u003e"],"physloc_tesim":["Range: 9A, Section 2: Shelf: 2-3\nRange: 9A, Section: 3, Shelf: 1-6"],"names_ssim":["Florida Gulf Coast University Special Collections","Eastman Kodak Company","Kross, Walter, active 1934-1956"],"corpname_ssim":["Florida Gulf Coast University Special Collections","Eastman Kodak Company"],"persname_ssim":["Kross, Walter, active 1934-1956"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":201,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1879903224713969664,"_root_":"b24f066927c0aa3f96b9dff7","timestamp":"2026-10-24T04:17:02.734Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/b24f066927c0aa3f96b9dff7_aspace_6e46dea36c690a1d970db9e9ca566167"}},{"id":"02e6768c8de9bbedcf989f55","type":"collection","attributes":{"title":"Cinema Corporation of America Collection, 1925-1981, bulk 1925-1932","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/02e6768c8de9bbedcf989f55#abstract_or_scope","type":"document_value","attributes":{"value":["The Cinema Corporation of America Collection documents the history of this film distribution company, and American producer and director Cecil B. DeMille's role in its founding."],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/02e6768c8de9bbedcf989f55#breadcrumbs","type":"document_value","attributes":{"value":[{"id":"02e6768c8de9bbedcf989f55","title_ssm":["Cinema Corporation of America Collection"],"title_tesim":["Cinema Corporation of America Collection"],"ead_ssi":"02e6768c8de9bbedcf989f55","unitdate_ssm":["1925-1981","1925-1932"],"unitdate_bulk_ssim":["1925-1932"],"unitdate_inclusive_ssm":["1925-1981"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS 2004-008","/repositories/10/resources/515"],"text":["MSS 2004-008","/repositories/10/resources/515","Cinema Corporation of America Collection, 1925-1981, bulk 1925-1932","Bible films.","Feature films.","Motion picture industry--California--Los Angeles--History","Motion picture industry--United States.","Motion pictures--United States--Distribution","Silent films.","Advertising fliers","Interviews.","Pamphlets","Comic books, strips, etc.","Clippings (Books, newspapers, etc.)","Contracts.","Correspondence","Deeds","Financial Records","Legal documents.","Manuscripts","Photographs","Postcards.","Posters.","This collection is open to all researchers. ","This collection is in an offsite storage location. Please contact lib-specialcollections@fsu.edu with requests for access or for more information.","In 1916, American motion-picture director and producer Cecil B. DeMille became \"director general\" of the Famous Players-Lasky Corporation, the nucleus of what would soon become Paramount Pictures. According to DeMille archivist James D'Arc at Brigham Young University's Film Music Archives, DeMille, in early 1922, terminated his ties with Famous Players-Lasky, purchased the Ince Studio in Culver City, California, and formed his own production unit, Cecil B. DeMille Productions, Inc. This company operated under the aegis of Paramount Pictures for most of the rest of his career. DeMille contracted to release his films through Jeremiah Milbank's Producers Distributing Corporation. The Ince Studio later became Selznick International Pictures, and finally became Pathe.\n From 1919-1922, DeMille concentrated on producing and directing films that portrayed a liberated sexual morality, while continuing to endorse traditional values. By 1923, however, the Hollywood film industry was charged with promoting immorality. While attempting to help redeem the industry from these charges, DeMille decided to produce a new film genre for which he was best known for the remainder of his career: spectacular historical and biblical epics. The first two examples of these productions, \"The Ten Commandments\" (1923; silent version) and \"The King of Kings\" (1927; originally silent), were immediately successful at the box office. According to Alan F. Martin's son Robert, \"The King of Kings\" premiere was the film that opened Grauman's Chinese Theatre in Hollywood. To take advantage of the newly introduced technique of sound, \"The King of Kings\" went into general release in 1928, complete with a score arranged by Hugo Riesenfeld. Since that time, the film has been seen in this form.\n In 1925, DeMille left Paramount Pictures and organized the Cinema Corporation of America as a holding company that owned the stock of the Producer's Distributing Corporation and a new subsidiary, Cecil B. DeMille Pictures Corporation, controlled jointly by Milbank and DeMille. DeMille's position in the corporation was undermined by the fact that his features - those directed by himself as well as those under his supervision at DeMille Productions - were earning modest, if any, profits. His $2 million expenditure for \"The King of Kings,\" although the film was quite successful, \"created a crisis that threatened bankruptcy\" and led to the merger of Producer's Distributing Corporation, the Keith Albee-Orpheum chain, and the Pathe Exchange in 1927. That year, Keith Albee-Orpheum was renamed Radio-Keith-Orpheum (RKO), and RKO took over control of Pathe. Cinema Corporation of America was kept in existence for the purpose of distributing \"The King of Kings.\" It owned the copyright to that film, which was renewed in 1955.\n DeMille's alliance with Cinema Corporation of America was short-lived, however, and in 1928 he took his staff from Cecil B. DeMille Productions, Inc. to Metro-Goldwyn-Mayer. At his request, DeMille rejoined Paramount in 1931, and began producing and directing lavish films such as \"The Sign of the Cross (1932), \"Cleopatra\" (1934), and \"The Crusades\" (1935). From that time on, DeMille's association with larger-than-life, big-budget films became legendary.\n Through the work of the Cinema Corporation of America and its Vice-President Alan F. Martin, Cecil B. DeMille's most enduring film, \"The King of Kings,\" has been in constant theatrical and non-theatrical distribution since 1927. According to Robert Martin, his father \"was the single reason 'The King of Kings' stayed available to the public for close to 40 years.\" Alan F. Martin created the educational film strips and study guides for the movie and had the titles translated into dozens of languages. The film was used by missionaries all over the world and was still being shown by church groups and in theatres into the 1970s. In August 1971, Cinema Corporation of America sold all of its assets, including its copyright to \"The King of Kings,\" to Modern Sound Pictures.","Portions of collection available online?: No","This collection was processed from December 2004-January 2005 by Burt Altman.","The Cinema Corporation of America Collection documents Cecil B. DeMille's role in the founding of the company and its film distribution activities in later years under Vice President Alan F. Martin. The collection includes production materials for \"The King of Kings\" and other films; correspondence, business records, legal materials; educational filmstrips; religious film catalogs, and the \"Cap Stubbs and Tippie\" newspaper cartoon strips created and drawn by Edwina Dumm, which first appeared in 1918. They were purchased by the Cinema Corporation of America in the mid 1920s.","Copyright has not been assigned to the Florida State University Libraries.\n All requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections and Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher.","The Cinema Corporation of America Collection documents the history of this film distribution company, and American producer and director Cecil B. DeMille's role in its founding.","FSU Special Collections \u0026 Archives","DeMille Pictures Corporation","Cinema Corporation of America","DeMille, Cecil B. (Cecil Blount), 1881-1959","Logan, Jacqueline","Martin, Alan F.","English"],"unitid_tesim":["MSS 2004-008","/repositories/10/resources/515"],"normalized_date_ssm":["1925-1981, bulk 1925-1932"],"normalized_title_ssm":["Cinema Corporation of America Collection, 1925-1981, bulk 1925-1932"],"collection_title_tesim":["Cinema Corporation of America Collection, 1925-1981, bulk 1925-1932"],"collection_ssim":["Cinema Corporation of America Collection, 1925-1981, bulk 1925-1932"],"repository_ssm":["FSU Special Collections \u0026 Archives"],"repository_ssim":["FSU Special Collections \u0026 Archives"],"access_terms_ssm":["Copyright has not been assigned to the Florida State University Libraries.\n All requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections and Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher."],"acqinfo_ssim":["The Cinema Corporation of America Collection was given to Special Collections by Mr. Robert Martin in July 2004."],"access_subjects_ssim":["Bible films.","Feature films.","Motion picture industry--California--Los Angeles--History","Motion picture industry--United States.","Motion pictures--United States--Distribution","Silent films.","Advertising fliers","Interviews.","Pamphlets","Comic books, strips, etc.","Clippings (Books, newspapers, etc.)","Contracts.","Correspondence","Deeds","Financial Records","Legal documents.","Manuscripts","Photographs","Postcards.","Posters."],"access_subjects_ssm":["Bible films.","Feature films.","Motion picture industry--California--Los Angeles--History","Motion picture industry--United States.","Motion pictures--United States--Distribution","Silent films.","Advertising fliers","Interviews.","Pamphlets","Comic books, strips, etc.","Clippings (Books, newspapers, etc.)","Contracts.","Correspondence","Deeds","Financial Records","Legal documents.","Manuscripts","Photographs","Postcards.","Posters."],"has_online_content_ssim":["false"],"extent_ssm":["5.70 Linear Feet"],"extent_tesim":["5.70 Linear Feet"],"genreform_ssim":["Comic books, strips, etc.","Clippings (Books, newspapers, etc.)","Contracts.","Correspondence","Deeds","Financial Records","Legal documents.","Manuscripts","Photographs","Postcards.","Posters."],"date_range_isim":[1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is open to all researchers. \u003c/p\u003e\n","\u003cp\u003eThis collection is in an offsite storage location. Please contact lib-specialcollections@fsu.edu with requests for access or for more information.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["This collection is open to all researchers. ","This collection is in an offsite storage location. Please contact lib-specialcollections@fsu.edu with requests for access or for more information."],"bioghist_html_tesm":["\u003cp\u003eIn 1916, American motion-picture director and producer Cecil B. DeMille became \"director general\" of the Famous Players-Lasky Corporation, the nucleus of what would soon become Paramount Pictures. According to DeMille archivist James D'Arc at Brigham Young University's Film Music Archives, DeMille, in early 1922, terminated his ties with Famous Players-Lasky, purchased the Ince Studio in Culver City, California, and formed his own production unit, Cecil B. DeMille Productions, Inc. This company operated under the aegis of Paramount Pictures for most of the rest of his career. DeMille contracted to release his films through Jeremiah Milbank's Producers Distributing Corporation. The Ince Studio later became Selznick International Pictures, and finally became Pathe.\n\u003cbr\u003e\u003cbr\u003eFrom 1919-1922, DeMille concentrated on producing and directing films that portrayed a liberated sexual morality, while continuing to endorse traditional values. By 1923, however, the Hollywood film industry was charged with promoting immorality. While attempting to help redeem the industry from these charges, DeMille decided to produce a new film genre for which he was best known for the remainder of his career: spectacular historical and biblical epics. The first two examples of these productions, \"The Ten Commandments\" (1923; silent version) and \"The King of Kings\" (1927; originally silent), were immediately successful at the box office. According to Alan F. Martin's son Robert, \"The King of Kings\" premiere was the film that opened Grauman's Chinese Theatre in Hollywood. To take advantage of the newly introduced technique of sound, \"The King of Kings\" went into general release in 1928, complete with a score arranged by Hugo Riesenfeld. Since that time, the film has been seen in this form.\n\u003cbr\u003e\u003cbr\u003eIn 1925, DeMille left Paramount Pictures and organized the Cinema Corporation of America as a holding company that owned the stock of the Producer's Distributing Corporation and a new subsidiary, Cecil B. DeMille Pictures Corporation, controlled jointly by Milbank and DeMille. DeMille's position in the corporation was undermined by the fact that his features - those directed by himself as well as those under his supervision at DeMille Productions - were earning modest, if any, profits. His $2 million expenditure for \"The King of Kings,\" although the film was quite successful, \"created a crisis that threatened bankruptcy\" and led to the merger of Producer's Distributing Corporation, the Keith Albee-Orpheum chain, and the Pathe Exchange in 1927. That year, Keith Albee-Orpheum was renamed Radio-Keith-Orpheum (RKO), and RKO took over control of Pathe. Cinema Corporation of America was kept in existence for the purpose of distributing \"The King of Kings.\" It owned the copyright to that film, which was renewed in 1955.\n\u003cbr\u003e\u003cbr\u003eDeMille's alliance with Cinema Corporation of America was short-lived, however, and in 1928 he took his staff from Cecil B. DeMille Productions, Inc. to Metro-Goldwyn-Mayer. At his request, DeMille rejoined Paramount in 1931, and began producing and directing lavish films such as \"The Sign of the Cross (1932), \"Cleopatra\" (1934), and \"The Crusades\" (1935). From that time on, DeMille's association with larger-than-life, big-budget films became legendary.\n\u003cbr\u003e\u003cbr\u003eThrough the work of the Cinema Corporation of America and its Vice-President Alan F. Martin, Cecil B. DeMille's most enduring film, \"The King of Kings,\" has been in constant theatrical and non-theatrical distribution since 1927. According to Robert Martin, his father \"was the single reason 'The King of Kings' stayed available to the public for close to 40 years.\" Alan F. Martin created the educational film strips and study guides for the movie and had the titles translated into dozens of languages. The film was used by missionaries all over the world and was still being shown by church groups and in theatres into the 1970s. In August 1971, Cinema Corporation of America sold all of its assets, including its copyright to \"The King of Kings,\" to Modern Sound Pictures.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["In 1916, American motion-picture director and producer Cecil B. DeMille became \"director general\" of the Famous Players-Lasky Corporation, the nucleus of what would soon become Paramount Pictures. According to DeMille archivist James D'Arc at Brigham Young University's Film Music Archives, DeMille, in early 1922, terminated his ties with Famous Players-Lasky, purchased the Ince Studio in Culver City, California, and formed his own production unit, Cecil B. DeMille Productions, Inc. This company operated under the aegis of Paramount Pictures for most of the rest of his career. DeMille contracted to release his films through Jeremiah Milbank's Producers Distributing Corporation. The Ince Studio later became Selznick International Pictures, and finally became Pathe.\n From 1919-1922, DeMille concentrated on producing and directing films that portrayed a liberated sexual morality, while continuing to endorse traditional values. By 1923, however, the Hollywood film industry was charged with promoting immorality. While attempting to help redeem the industry from these charges, DeMille decided to produce a new film genre for which he was best known for the remainder of his career: spectacular historical and biblical epics. The first two examples of these productions, \"The Ten Commandments\" (1923; silent version) and \"The King of Kings\" (1927; originally silent), were immediately successful at the box office. According to Alan F. Martin's son Robert, \"The King of Kings\" premiere was the film that opened Grauman's Chinese Theatre in Hollywood. To take advantage of the newly introduced technique of sound, \"The King of Kings\" went into general release in 1928, complete with a score arranged by Hugo Riesenfeld. Since that time, the film has been seen in this form.\n In 1925, DeMille left Paramount Pictures and organized the Cinema Corporation of America as a holding company that owned the stock of the Producer's Distributing Corporation and a new subsidiary, Cecil B. DeMille Pictures Corporation, controlled jointly by Milbank and DeMille. DeMille's position in the corporation was undermined by the fact that his features - those directed by himself as well as those under his supervision at DeMille Productions - were earning modest, if any, profits. His $2 million expenditure for \"The King of Kings,\" although the film was quite successful, \"created a crisis that threatened bankruptcy\" and led to the merger of Producer's Distributing Corporation, the Keith Albee-Orpheum chain, and the Pathe Exchange in 1927. That year, Keith Albee-Orpheum was renamed Radio-Keith-Orpheum (RKO), and RKO took over control of Pathe. Cinema Corporation of America was kept in existence for the purpose of distributing \"The King of Kings.\" It owned the copyright to that film, which was renewed in 1955.\n DeMille's alliance with Cinema Corporation of America was short-lived, however, and in 1928 he took his staff from Cecil B. DeMille Productions, Inc. to Metro-Goldwyn-Mayer. At his request, DeMille rejoined Paramount in 1931, and began producing and directing lavish films such as \"The Sign of the Cross (1932), \"Cleopatra\" (1934), and \"The Crusades\" (1935). From that time on, DeMille's association with larger-than-life, big-budget films became legendary.\n Through the work of the Cinema Corporation of America and its Vice-President Alan F. Martin, Cecil B. DeMille's most enduring film, \"The King of Kings,\" has been in constant theatrical and non-theatrical distribution since 1927. According to Robert Martin, his father \"was the single reason 'The King of Kings' stayed available to the public for close to 40 years.\" Alan F. Martin created the educational film strips and study guides for the movie and had the titles translated into dozens of languages. The film was used by missionaries all over the world and was still being shown by church groups and in theatres into the 1970s. In August 1971, Cinema Corporation of America sold all of its assets, including its copyright to \"The King of Kings,\" to Modern Sound Pictures."],"originalsloc_html_tesm":["\u003cp\u003ePortions of collection available online?: No\u003c/p\u003e"],"originalsloc_heading_ssm":["Existence and Location of Originals"],"originalsloc_tesim":["Portions of collection available online?: No"],"prefercite_html_tesm":["\u003cp\u003eCinema Corporation of America Collection, Special Collections, Florida State University Libraries, Tallahassee, Florida.\nhttps://purl.lib.fsu.edu/fa/MSS-2004-008\u003c/p\u003e"],"prefercite_tesim":["Cinema Corporation of America Collection, Special Collections, Florida State University Libraries, Tallahassee, Florida.\nhttps://purl.lib.fsu.edu/fa/MSS-2004-008"],"processinfo_html_tesm":["\u003cp\u003eThis collection was processed from December 2004-January 2005 by Burt Altman.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["This collection was processed from December 2004-January 2005 by Burt Altman."],"scopecontent_html_tesm":["\u003cp\u003eThe Cinema Corporation of America Collection documents Cecil B. DeMille's role in the founding of the company and its film distribution activities in later years under Vice President Alan F. Martin. The collection includes production materials for \"The King of Kings\" and other films; correspondence, business records, legal materials; educational filmstrips; religious film catalogs, and the \"Cap Stubbs and Tippie\" newspaper cartoon strips created and drawn by Edwina Dumm, which first appeared in 1918. They were purchased by the Cinema Corporation of America in the mid 1920s.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The Cinema Corporation of America Collection documents Cecil B. DeMille's role in the founding of the company and its film distribution activities in later years under Vice President Alan F. Martin. The collection includes production materials for \"The King of Kings\" and other films; correspondence, business records, legal materials; educational filmstrips; religious film catalogs, and the \"Cap Stubbs and Tippie\" newspaper cartoon strips created and drawn by Edwina Dumm, which first appeared in 1918. They were purchased by the Cinema Corporation of America in the mid 1920s."],"userestrict_html_tesm":["\u003cp\u003eCopyright has not been assigned to the Florida State University Libraries.\n\u003cbr\u003e\u003cbr\u003eAll requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections and Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Copyright has not been assigned to the Florida State University Libraries.\n All requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections and Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher."],"abstract_html_tesm":["\u003cabstract id=\"aspace_55d7c421357e27123341549dc34b5103\" label=\"Abstract\"\u003eThe Cinema Corporation of America Collection documents the history of this film distribution company, and American producer and director Cecil B. DeMille's role in its founding.\u003c/abstract\u003e"],"abstract_tesim":["The Cinema Corporation of America Collection documents the history of this film distribution company, and American producer and director Cecil B. DeMille's role in its founding."],"names_coll_ssim":["DeMille Pictures Corporation","Cinema Corporation of America","DeMille, Cecil B. (Cecil Blount), 1881-1959","Logan, Jacqueline","Martin, Alan F."],"names_ssim":["FSU Special Collections \u0026 Archives","DeMille Pictures Corporation","Cinema Corporation of America","DeMille, Cecil B. (Cecil Blount), 1881-1959","Logan, Jacqueline","Martin, Alan F."],"corpname_ssim":["FSU Special Collections \u0026 Archives","DeMille Pictures Corporation","Cinema Corporation of America"],"persname_ssim":["DeMille, Cecil B. (Cecil Blount), 1881-1959","Logan, Jacqueline","Martin, Alan F."],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":76,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"02e6768c8de9bbedcf989f55","timestamp":"2026-07-08T11:19:32.323Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"02e6768c8de9bbedcf989f55","title_ssm":["Cinema Corporation of America Collection"],"title_tesim":["Cinema Corporation of America Collection"],"ead_ssi":"02e6768c8de9bbedcf989f55","unitdate_ssm":["1925-1981","1925-1932"],"unitdate_bulk_ssim":["1925-1932"],"unitdate_inclusive_ssm":["1925-1981"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS 2004-008","/repositories/10/resources/515"],"text":["MSS 2004-008","/repositories/10/resources/515","Cinema Corporation of America Collection, 1925-1981, bulk 1925-1932","Bible films.","Feature films.","Motion picture industry--California--Los Angeles--History","Motion picture industry--United States.","Motion pictures--United States--Distribution","Silent films.","Advertising fliers","Interviews.","Pamphlets","Comic books, strips, etc.","Clippings (Books, newspapers, etc.)","Contracts.","Correspondence","Deeds","Financial Records","Legal documents.","Manuscripts","Photographs","Postcards.","Posters.","This collection is open to all researchers. ","This collection is in an offsite storage location. Please contact lib-specialcollections@fsu.edu with requests for access or for more information.","In 1916, American motion-picture director and producer Cecil B. DeMille became \"director general\" of the Famous Players-Lasky Corporation, the nucleus of what would soon become Paramount Pictures. According to DeMille archivist James D'Arc at Brigham Young University's Film Music Archives, DeMille, in early 1922, terminated his ties with Famous Players-Lasky, purchased the Ince Studio in Culver City, California, and formed his own production unit, Cecil B. DeMille Productions, Inc. This company operated under the aegis of Paramount Pictures for most of the rest of his career. DeMille contracted to release his films through Jeremiah Milbank's Producers Distributing Corporation. The Ince Studio later became Selznick International Pictures, and finally became Pathe.\n From 1919-1922, DeMille concentrated on producing and directing films that portrayed a liberated sexual morality, while continuing to endorse traditional values. By 1923, however, the Hollywood film industry was charged with promoting immorality. While attempting to help redeem the industry from these charges, DeMille decided to produce a new film genre for which he was best known for the remainder of his career: spectacular historical and biblical epics. The first two examples of these productions, \"The Ten Commandments\" (1923; silent version) and \"The King of Kings\" (1927; originally silent), were immediately successful at the box office. According to Alan F. Martin's son Robert, \"The King of Kings\" premiere was the film that opened Grauman's Chinese Theatre in Hollywood. To take advantage of the newly introduced technique of sound, \"The King of Kings\" went into general release in 1928, complete with a score arranged by Hugo Riesenfeld. Since that time, the film has been seen in this form.\n In 1925, DeMille left Paramount Pictures and organized the Cinema Corporation of America as a holding company that owned the stock of the Producer's Distributing Corporation and a new subsidiary, Cecil B. DeMille Pictures Corporation, controlled jointly by Milbank and DeMille. DeMille's position in the corporation was undermined by the fact that his features - those directed by himself as well as those under his supervision at DeMille Productions - were earning modest, if any, profits. His $2 million expenditure for \"The King of Kings,\" although the film was quite successful, \"created a crisis that threatened bankruptcy\" and led to the merger of Producer's Distributing Corporation, the Keith Albee-Orpheum chain, and the Pathe Exchange in 1927. That year, Keith Albee-Orpheum was renamed Radio-Keith-Orpheum (RKO), and RKO took over control of Pathe. Cinema Corporation of America was kept in existence for the purpose of distributing \"The King of Kings.\" It owned the copyright to that film, which was renewed in 1955.\n DeMille's alliance with Cinema Corporation of America was short-lived, however, and in 1928 he took his staff from Cecil B. DeMille Productions, Inc. to Metro-Goldwyn-Mayer. At his request, DeMille rejoined Paramount in 1931, and began producing and directing lavish films such as \"The Sign of the Cross (1932), \"Cleopatra\" (1934), and \"The Crusades\" (1935). From that time on, DeMille's association with larger-than-life, big-budget films became legendary.\n Through the work of the Cinema Corporation of America and its Vice-President Alan F. Martin, Cecil B. DeMille's most enduring film, \"The King of Kings,\" has been in constant theatrical and non-theatrical distribution since 1927. According to Robert Martin, his father \"was the single reason 'The King of Kings' stayed available to the public for close to 40 years.\" Alan F. Martin created the educational film strips and study guides for the movie and had the titles translated into dozens of languages. The film was used by missionaries all over the world and was still being shown by church groups and in theatres into the 1970s. In August 1971, Cinema Corporation of America sold all of its assets, including its copyright to \"The King of Kings,\" to Modern Sound Pictures.","Portions of collection available online?: No","This collection was processed from December 2004-January 2005 by Burt Altman.","The Cinema Corporation of America Collection documents Cecil B. DeMille's role in the founding of the company and its film distribution activities in later years under Vice President Alan F. Martin. The collection includes production materials for \"The King of Kings\" and other films; correspondence, business records, legal materials; educational filmstrips; religious film catalogs, and the \"Cap Stubbs and Tippie\" newspaper cartoon strips created and drawn by Edwina Dumm, which first appeared in 1918. They were purchased by the Cinema Corporation of America in the mid 1920s.","Copyright has not been assigned to the Florida State University Libraries.\n All requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections and Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher.","The Cinema Corporation of America Collection documents the history of this film distribution company, and American producer and director Cecil B. DeMille's role in its founding.","FSU Special Collections \u0026 Archives","DeMille Pictures Corporation","Cinema Corporation of America","DeMille, Cecil B. (Cecil Blount), 1881-1959","Logan, Jacqueline","Martin, Alan F.","English"],"unitid_tesim":["MSS 2004-008","/repositories/10/resources/515"],"normalized_date_ssm":["1925-1981, bulk 1925-1932"],"normalized_title_ssm":["Cinema Corporation of America Collection, 1925-1981, bulk 1925-1932"],"collection_title_tesim":["Cinema Corporation of America Collection, 1925-1981, bulk 1925-1932"],"collection_ssim":["Cinema Corporation of America Collection, 1925-1981, bulk 1925-1932"],"repository_ssm":["FSU Special Collections \u0026 Archives"],"repository_ssim":["FSU Special Collections \u0026 Archives"],"access_terms_ssm":["Copyright has not been assigned to the Florida State University Libraries.\n All requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections and Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher."],"acqinfo_ssim":["The Cinema Corporation of America Collection was given to Special Collections by Mr. Robert Martin in July 2004."],"access_subjects_ssim":["Bible films.","Feature films.","Motion picture industry--California--Los Angeles--History","Motion picture industry--United States.","Motion pictures--United States--Distribution","Silent films.","Advertising fliers","Interviews.","Pamphlets","Comic books, strips, etc.","Clippings (Books, newspapers, etc.)","Contracts.","Correspondence","Deeds","Financial Records","Legal documents.","Manuscripts","Photographs","Postcards.","Posters."],"access_subjects_ssm":["Bible films.","Feature films.","Motion picture industry--California--Los Angeles--History","Motion picture industry--United States.","Motion pictures--United States--Distribution","Silent films.","Advertising fliers","Interviews.","Pamphlets","Comic books, strips, etc.","Clippings (Books, newspapers, etc.)","Contracts.","Correspondence","Deeds","Financial Records","Legal documents.","Manuscripts","Photographs","Postcards.","Posters."],"has_online_content_ssim":["false"],"extent_ssm":["5.70 Linear Feet"],"extent_tesim":["5.70 Linear Feet"],"genreform_ssim":["Comic books, strips, etc.","Clippings (Books, newspapers, etc.)","Contracts.","Correspondence","Deeds","Financial Records","Legal documents.","Manuscripts","Photographs","Postcards.","Posters."],"date_range_isim":[1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is open to all researchers. \u003c/p\u003e\n","\u003cp\u003eThis collection is in an offsite storage location. Please contact lib-specialcollections@fsu.edu with requests for access or for more information.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["This collection is open to all researchers. ","This collection is in an offsite storage location. Please contact lib-specialcollections@fsu.edu with requests for access or for more information."],"bioghist_html_tesm":["\u003cp\u003eIn 1916, American motion-picture director and producer Cecil B. DeMille became \"director general\" of the Famous Players-Lasky Corporation, the nucleus of what would soon become Paramount Pictures. According to DeMille archivist James D'Arc at Brigham Young University's Film Music Archives, DeMille, in early 1922, terminated his ties with Famous Players-Lasky, purchased the Ince Studio in Culver City, California, and formed his own production unit, Cecil B. DeMille Productions, Inc. This company operated under the aegis of Paramount Pictures for most of the rest of his career. DeMille contracted to release his films through Jeremiah Milbank's Producers Distributing Corporation. The Ince Studio later became Selznick International Pictures, and finally became Pathe.\n\u003cbr\u003e\u003cbr\u003eFrom 1919-1922, DeMille concentrated on producing and directing films that portrayed a liberated sexual morality, while continuing to endorse traditional values. By 1923, however, the Hollywood film industry was charged with promoting immorality. While attempting to help redeem the industry from these charges, DeMille decided to produce a new film genre for which he was best known for the remainder of his career: spectacular historical and biblical epics. The first two examples of these productions, \"The Ten Commandments\" (1923; silent version) and \"The King of Kings\" (1927; originally silent), were immediately successful at the box office. According to Alan F. Martin's son Robert, \"The King of Kings\" premiere was the film that opened Grauman's Chinese Theatre in Hollywood. To take advantage of the newly introduced technique of sound, \"The King of Kings\" went into general release in 1928, complete with a score arranged by Hugo Riesenfeld. Since that time, the film has been seen in this form.\n\u003cbr\u003e\u003cbr\u003eIn 1925, DeMille left Paramount Pictures and organized the Cinema Corporation of America as a holding company that owned the stock of the Producer's Distributing Corporation and a new subsidiary, Cecil B. DeMille Pictures Corporation, controlled jointly by Milbank and DeMille. DeMille's position in the corporation was undermined by the fact that his features - those directed by himself as well as those under his supervision at DeMille Productions - were earning modest, if any, profits. His $2 million expenditure for \"The King of Kings,\" although the film was quite successful, \"created a crisis that threatened bankruptcy\" and led to the merger of Producer's Distributing Corporation, the Keith Albee-Orpheum chain, and the Pathe Exchange in 1927. That year, Keith Albee-Orpheum was renamed Radio-Keith-Orpheum (RKO), and RKO took over control of Pathe. Cinema Corporation of America was kept in existence for the purpose of distributing \"The King of Kings.\" It owned the copyright to that film, which was renewed in 1955.\n\u003cbr\u003e\u003cbr\u003eDeMille's alliance with Cinema Corporation of America was short-lived, however, and in 1928 he took his staff from Cecil B. DeMille Productions, Inc. to Metro-Goldwyn-Mayer. At his request, DeMille rejoined Paramount in 1931, and began producing and directing lavish films such as \"The Sign of the Cross (1932), \"Cleopatra\" (1934), and \"The Crusades\" (1935). From that time on, DeMille's association with larger-than-life, big-budget films became legendary.\n\u003cbr\u003e\u003cbr\u003eThrough the work of the Cinema Corporation of America and its Vice-President Alan F. Martin, Cecil B. DeMille's most enduring film, \"The King of Kings,\" has been in constant theatrical and non-theatrical distribution since 1927. According to Robert Martin, his father \"was the single reason 'The King of Kings' stayed available to the public for close to 40 years.\" Alan F. Martin created the educational film strips and study guides for the movie and had the titles translated into dozens of languages. The film was used by missionaries all over the world and was still being shown by church groups and in theatres into the 1970s. In August 1971, Cinema Corporation of America sold all of its assets, including its copyright to \"The King of Kings,\" to Modern Sound Pictures.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["In 1916, American motion-picture director and producer Cecil B. DeMille became \"director general\" of the Famous Players-Lasky Corporation, the nucleus of what would soon become Paramount Pictures. According to DeMille archivist James D'Arc at Brigham Young University's Film Music Archives, DeMille, in early 1922, terminated his ties with Famous Players-Lasky, purchased the Ince Studio in Culver City, California, and formed his own production unit, Cecil B. DeMille Productions, Inc. This company operated under the aegis of Paramount Pictures for most of the rest of his career. DeMille contracted to release his films through Jeremiah Milbank's Producers Distributing Corporation. The Ince Studio later became Selznick International Pictures, and finally became Pathe.\n From 1919-1922, DeMille concentrated on producing and directing films that portrayed a liberated sexual morality, while continuing to endorse traditional values. By 1923, however, the Hollywood film industry was charged with promoting immorality. While attempting to help redeem the industry from these charges, DeMille decided to produce a new film genre for which he was best known for the remainder of his career: spectacular historical and biblical epics. The first two examples of these productions, \"The Ten Commandments\" (1923; silent version) and \"The King of Kings\" (1927; originally silent), were immediately successful at the box office. According to Alan F. Martin's son Robert, \"The King of Kings\" premiere was the film that opened Grauman's Chinese Theatre in Hollywood. To take advantage of the newly introduced technique of sound, \"The King of Kings\" went into general release in 1928, complete with a score arranged by Hugo Riesenfeld. Since that time, the film has been seen in this form.\n In 1925, DeMille left Paramount Pictures and organized the Cinema Corporation of America as a holding company that owned the stock of the Producer's Distributing Corporation and a new subsidiary, Cecil B. DeMille Pictures Corporation, controlled jointly by Milbank and DeMille. DeMille's position in the corporation was undermined by the fact that his features - those directed by himself as well as those under his supervision at DeMille Productions - were earning modest, if any, profits. His $2 million expenditure for \"The King of Kings,\" although the film was quite successful, \"created a crisis that threatened bankruptcy\" and led to the merger of Producer's Distributing Corporation, the Keith Albee-Orpheum chain, and the Pathe Exchange in 1927. That year, Keith Albee-Orpheum was renamed Radio-Keith-Orpheum (RKO), and RKO took over control of Pathe. Cinema Corporation of America was kept in existence for the purpose of distributing \"The King of Kings.\" It owned the copyright to that film, which was renewed in 1955.\n DeMille's alliance with Cinema Corporation of America was short-lived, however, and in 1928 he took his staff from Cecil B. DeMille Productions, Inc. to Metro-Goldwyn-Mayer. At his request, DeMille rejoined Paramount in 1931, and began producing and directing lavish films such as \"The Sign of the Cross (1932), \"Cleopatra\" (1934), and \"The Crusades\" (1935). From that time on, DeMille's association with larger-than-life, big-budget films became legendary.\n Through the work of the Cinema Corporation of America and its Vice-President Alan F. Martin, Cecil B. DeMille's most enduring film, \"The King of Kings,\" has been in constant theatrical and non-theatrical distribution since 1927. According to Robert Martin, his father \"was the single reason 'The King of Kings' stayed available to the public for close to 40 years.\" Alan F. Martin created the educational film strips and study guides for the movie and had the titles translated into dozens of languages. The film was used by missionaries all over the world and was still being shown by church groups and in theatres into the 1970s. In August 1971, Cinema Corporation of America sold all of its assets, including its copyright to \"The King of Kings,\" to Modern Sound Pictures."],"originalsloc_html_tesm":["\u003cp\u003ePortions of collection available online?: No\u003c/p\u003e"],"originalsloc_heading_ssm":["Existence and Location of Originals"],"originalsloc_tesim":["Portions of collection available online?: No"],"prefercite_html_tesm":["\u003cp\u003eCinema Corporation of America Collection, Special Collections, Florida State University Libraries, Tallahassee, Florida.\nhttps://purl.lib.fsu.edu/fa/MSS-2004-008\u003c/p\u003e"],"prefercite_tesim":["Cinema Corporation of America Collection, Special Collections, Florida State University Libraries, Tallahassee, Florida.\nhttps://purl.lib.fsu.edu/fa/MSS-2004-008"],"processinfo_html_tesm":["\u003cp\u003eThis collection was processed from December 2004-January 2005 by Burt Altman.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["This collection was processed from December 2004-January 2005 by Burt Altman."],"scopecontent_html_tesm":["\u003cp\u003eThe Cinema Corporation of America Collection documents Cecil B. DeMille's role in the founding of the company and its film distribution activities in later years under Vice President Alan F. Martin. The collection includes production materials for \"The King of Kings\" and other films; correspondence, business records, legal materials; educational filmstrips; religious film catalogs, and the \"Cap Stubbs and Tippie\" newspaper cartoon strips created and drawn by Edwina Dumm, which first appeared in 1918. They were purchased by the Cinema Corporation of America in the mid 1920s.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The Cinema Corporation of America Collection documents Cecil B. DeMille's role in the founding of the company and its film distribution activities in later years under Vice President Alan F. Martin. The collection includes production materials for \"The King of Kings\" and other films; correspondence, business records, legal materials; educational filmstrips; religious film catalogs, and the \"Cap Stubbs and Tippie\" newspaper cartoon strips created and drawn by Edwina Dumm, which first appeared in 1918. They were purchased by the Cinema Corporation of America in the mid 1920s."],"userestrict_html_tesm":["\u003cp\u003eCopyright has not been assigned to the Florida State University Libraries.\n\u003cbr\u003e\u003cbr\u003eAll requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections and Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Copyright has not been assigned to the Florida State University Libraries.\n All requests for permission to quote, publish, broadcast or otherwise reproduce from manuscripts must be submitted in writing to the Associate Dean for Special Collections and Archives. Permission for publication is given on behalf of the Florida State University Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the researcher."],"abstract_html_tesm":["\u003cabstract id=\"aspace_55d7c421357e27123341549dc34b5103\" label=\"Abstract\"\u003eThe Cinema Corporation of America Collection documents the history of this film distribution company, and American producer and director Cecil B. DeMille's role in its founding.\u003c/abstract\u003e"],"abstract_tesim":["The Cinema Corporation of America Collection documents the history of this film distribution company, and American producer and director Cecil B. DeMille's role in its founding."],"names_coll_ssim":["DeMille Pictures Corporation","Cinema Corporation of America","DeMille, Cecil B. (Cecil Blount), 1881-1959","Logan, Jacqueline","Martin, Alan F."],"names_ssim":["FSU Special Collections \u0026 Archives","DeMille Pictures Corporation","Cinema Corporation of America","DeMille, Cecil B. (Cecil Blount), 1881-1959","Logan, Jacqueline","Martin, Alan F."],"corpname_ssim":["FSU Special Collections \u0026 Archives","DeMille Pictures Corporation","Cinema Corporation of America"],"persname_ssim":["DeMille, Cecil B. (Cecil Blount), 1881-1959","Logan, Jacqueline","Martin, Alan F."],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":76,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"02e6768c8de9bbedcf989f55","timestamp":"2026-07-08T11:19:32.323Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/02e6768c8de9bbedcf989f55"}},{"id":"2738478d07a11949782e04f1_aspace_febe18b1fd09a9d7a628a6a5ed6d462c","type":"File","attributes":{"title":"(CIT) Associations, 1924-1927","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/2738478d07a11949782e04f1_aspace_febe18b1fd09a9d7a628a6a5ed6d462c#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_febe18b1fd09a9d7a628a6a5ed6d462c","ref_ssm":["aspace_febe18b1fd09a9d7a628a6a5ed6d462c","aspace_febe18b1fd09a9d7a628a6a5ed6d462c"],"id":"2738478d07a11949782e04f1_aspace_febe18b1fd09a9d7a628a6a5ed6d462c","title_filing_ssi":"(CIT) Associations","title_ssm":["(CIT) Associations"],"title_tesim":["(CIT) Associations"],"unitdate_inclusive_ssm":["1924-1927"],"normalized_date_ssm":["1924-1927"],"normalized_title_ssm":["(CIT) Associations, 1924-1927"],"text":["(CIT) Associations, 1924-1927","William L. 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Eight audiocassettes of five tape-recorded interviews (June - August 1996) used to support the historical and cultural role the Citrus Park Colored School played in the community are missing."],"userestrict_html_tesm":["\u003cp\u003eNone.\u0026#xA0; The contents of the collection may be subject to copyright.\u0026#xA0; Visit the United States Copyright Office's website at \u003cextref href=\"http://www.copyright.gov/\"\u003ehttp://www.copyright.gov/\u003c/extref\u003e for more information.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["None.  The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"abstract_html_tesm":["\u003cabstract id=\"aspace_8cca7bf8998605ce0aade733ac0fb40d\" label=\"Abstract\"\u003eCollection consists of research materials used by the Historic Tampa-Hillsborough County Preservation Board to designate the Citrus Park Colored School as an historic landmark.\u003c/abstract\u003e"],"abstract_tesim":["Collection consists of research materials used by the Historic Tampa-Hillsborough County Preservation Board to designate the Citrus Park Colored School as an historic landmark."],"names_coll_ssim":["Citrus Park Colored School (Citrus Park, Fla.)","Citrus Park Colored School (Citrus Park, Fla.)","Historic Tampa-Hillsborough County Preservation Board","Mohlman, Geoffrey"],"names_ssim":["USF Libraries - Tampa Special Collections","Historic Tampa-Hillsborough County Preservation Board","Citrus Park Colored School (Citrus Park, Fla.)","Mohlman, Geoffrey"],"corpname_ssim":["USF Libraries - Tampa Special Collections","Historic Tampa-Hillsborough County Preservation Board","Citrus Park Colored School (Citrus Park, Fla.)"],"persname_ssim":["Mohlman, Geoffrey"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":31,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870863131977187328,"_root_":"792b05f55d172a62ab9f2a96","timestamp":"2026-07-16T09:28:38.477Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"792b05f55d172a62ab9f2a96","title_ssm":["Citrus Park Colored School collection"],"title_tesim":["Citrus Park Colored School collection"],"ead_ssi":"792b05f55d172a62ab9f2a96","unitdate_ssm":["1921-1996","1996-11-20"],"unitdate_inclusive_ssm":["1921-1996"],"unitdate_other_ssim":["1996-11-20"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS-1996-03","/repositories/2/resources/468"],"text":["MS-1996-03","/repositories/2/resources/468","Citrus Park Colored School collection, 1921-1996, 1996-11-20","Citrus Park (Fla.) -- History -- 20th Century.","African Americans -- Education -- Florida -- Citrus Park","African Americans -- Education","Schools -- Florida -- Hillsborough County","Additional documents donated by Geoffrey Mohlman in September 2000.","Series","Citrus Park Colored School, built in 1924 on Gunn Highway in Citrus Park, FL was a one-room school house used by the area's African American community. Before closing in 1948, the school building also was used for church meetings and other community activities. In 1949, trustees of the Mt. Pleasant AME Church bought the building and held services there until the 1950s. In 1996, the Citrus Park Colored School, which was known as the Amanda James Fellowship Building, was designated a Hillsborough County Landmark.","published","Complete","Historic Tampa-Hillsborough County Preservation Board Collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.","The collection includes drafts of the designation report, correspondence, school rosters, deeds, minutes, photographs, and maps of the Citrus Park area.  Many of the items are photocopies. Eight audiocassettes of five tape-recorded interviews (June - August 1996) used to support the historical and cultural role the Citrus Park Colored School played in the community are missing.","None.  The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information.","Collection consists of research materials used by the Historic Tampa-Hillsborough County Preservation Board to designate the Citrus Park Colored School as an historic landmark.","USF Libraries - Tampa Special Collections","Historic Tampa-Hillsborough County Preservation Board","Citrus Park Colored School (Citrus Park, Fla.)","Mohlman, Geoffrey","English"],"unitid_tesim":["MS-1996-03","/repositories/2/resources/468"],"normalized_date_ssm":["1921-1996, 1996-11-20"],"normalized_title_ssm":["Citrus Park Colored School collection, 1921-1996, 1996-11-20"],"collection_title_tesim":["Citrus Park Colored School collection, 1921-1996, 1996-11-20"],"collection_ssim":["Citrus Park Colored School collection, 1921-1996, 1996-11-20"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"geogname_ssm":["Citrus Park (Fla.) -- History -- 20th Century."],"geogname_ssim":["Citrus Park (Fla.) -- History -- 20th Century."],"creator_ssm":["Historic Tampa-Hillsborough County Preservation Board","Historic Tampa-Hillsborough County Preservation Board","Mohlman, Geoffrey"],"creator_ssim":["Historic Tampa-Hillsborough County Preservation Board","Historic Tampa-Hillsborough County Preservation Board","Mohlman, Geoffrey"],"creator_persname_ssim":["Mohlman, Geoffrey"],"creator_corpname_ssim":["Historic Tampa-Hillsborough County Preservation Board","Historic Tampa-Hillsborough County Preservation Board"],"creators_ssim":["Mohlman, Geoffrey","Historic Tampa-Hillsborough County Preservation Board","Historic Tampa-Hillsborough County Preservation Board"],"places_ssim":["Citrus Park (Fla.) -- History -- 20th Century."],"access_terms_ssm":["None.  The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"acqinfo_ssim":["Historic Tampa-Hillsborough County Preservation Board","Donation"],"access_subjects_ssim":["African Americans -- Education -- Florida -- Citrus Park","African Americans -- Education","Schools -- Florida -- Hillsborough County"],"access_subjects_ssm":["African Americans -- Education -- Florida -- Citrus Park","African Americans -- Education","Schools -- Florida -- Hillsborough County"],"has_online_content_ssim":["false"],"extent_ssm":["0.21 Linear Feet","2  boxes"],"extent_tesim":["0.21 Linear Feet","2  boxes"],"date_range_isim":[1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996],"accruals_html_tesm":["\u003cp\u003eAdditional documents donated by Geoffrey Mohlman in September 2000.\u003c/p\u003e"],"accruals_heading_ssm":["Accruals and Additions"],"accruals_tesim":["Additional documents donated by Geoffrey Mohlman in September 2000."],"arrangement_html_tesm":["\u003cp\u003eSeries\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["Series"],"bioghist_html_tesm":["\u003cp\u003eCitrus Park Colored School, built in 1924 on Gunn Highway in Citrus Park, FL was a one-room school house used by the area's African American community. Before closing in 1948, the school building also was used for church meetings and other community activities. In 1949, trustees of the Mt. Pleasant AME Church bought the building and held services there until the 1950s. In 1996, the Citrus Park Colored School, which was known as the Amanda James Fellowship Building, was designated a Hillsborough County Landmark.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["Citrus Park Colored School, built in 1924 on Gunn Highway in Citrus Park, FL was a one-room school house used by the area's African American community. Before closing in 1948, the school building also was used for church meetings and other community activities. In 1949, trustees of the Mt. Pleasant AME Church bought the building and held services there until the 1950s. In 1996, the Citrus Park Colored School, which was known as the Amanda James Fellowship Building, was designated a Hillsborough County Landmark."],"odd_html_tesm":["\u003cp\u003epublished\u003c/p\u003e"],"odd_heading_ssm":["Other Descriptive Information"],"odd_tesim":["published"],"prefercite_html_tesm":["\u003cp\u003eCitrus Park Colored School collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"prefercite_tesim":["Citrus Park Colored School collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"processinfo_html_tesm":["\u003cp\u003eComplete\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Complete"],"relatedmaterial_html_tesm":["\u003cp\u003eHistoric Tampa-Hillsborough County Preservation Board Collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Historic Tampa-Hillsborough County Preservation Board Collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"scopecontent_html_tesm":["\u003cp\u003eThe collection includes drafts of the designation report, correspondence, school rosters, deeds, minutes, photographs, and maps of the Citrus Park area.\u0026#xA0; Many of the items are photocopies. Eight audiocassettes of five tape-recorded interviews (June - August 1996) used to support the historical and cultural role the Citrus Park Colored School played in the community are missing.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The collection includes drafts of the designation report, correspondence, school rosters, deeds, minutes, photographs, and maps of the Citrus Park area.  Many of the items are photocopies. Eight audiocassettes of five tape-recorded interviews (June - August 1996) used to support the historical and cultural role the Citrus Park Colored School played in the community are missing."],"userestrict_html_tesm":["\u003cp\u003eNone.\u0026#xA0; The contents of the collection may be subject to copyright.\u0026#xA0; Visit the United States Copyright Office's website at \u003cextref href=\"http://www.copyright.gov/\"\u003ehttp://www.copyright.gov/\u003c/extref\u003e for more information.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["None.  The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"abstract_html_tesm":["\u003cabstract id=\"aspace_8cca7bf8998605ce0aade733ac0fb40d\" label=\"Abstract\"\u003eCollection consists of research materials used by the Historic Tampa-Hillsborough County Preservation Board to designate the Citrus Park Colored School as an historic landmark.\u003c/abstract\u003e"],"abstract_tesim":["Collection consists of research materials used by the Historic Tampa-Hillsborough County Preservation Board to designate the Citrus Park Colored School as an historic landmark."],"names_coll_ssim":["Citrus Park Colored School (Citrus Park, Fla.)","Citrus Park Colored School (Citrus Park, Fla.)","Historic Tampa-Hillsborough County Preservation Board","Mohlman, Geoffrey"],"names_ssim":["USF Libraries - Tampa Special Collections","Historic Tampa-Hillsborough County Preservation Board","Citrus Park Colored School (Citrus Park, Fla.)","Mohlman, Geoffrey"],"corpname_ssim":["USF Libraries - Tampa Special Collections","Historic Tampa-Hillsborough County Preservation Board","Citrus Park Colored School (Citrus Park, Fla.)"],"persname_ssim":["Mohlman, Geoffrey"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":31,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870863131977187328,"_root_":"792b05f55d172a62ab9f2a96","timestamp":"2026-07-16T09:28:38.477Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/792b05f55d172a62ab9f2a96"}},{"id":"f98896827f16d52b3168e472_aspace_7d8f21bb7fcc4fcdeb97d000d5c5769f","type":"File","attributes":{"title":"City Commission Meeting, 1927","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/f98896827f16d52b3168e472_aspace_7d8f21bb7fcc4fcdeb97d000d5c5769f#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_7d8f21bb7fcc4fcdeb97d000d5c5769f","ref_ssm":["aspace_7d8f21bb7fcc4fcdeb97d000d5c5769f","aspace_7d8f21bb7fcc4fcdeb97d000d5c5769f"],"id":"f98896827f16d52b3168e472_aspace_7d8f21bb7fcc4fcdeb97d000d5c5769f","title_filing_ssi":"City Commission Meeting","title_ssm":["City Commission Meeting"],"title_tesim":["City Commission Meeting"],"unitdate_inclusive_ssm":["1927"],"normalized_date_ssm":["1927"],"normalized_title_ssm":["City Commission Meeting, 1927"],"text":["City Commission Meeting, 1927","Children's Home Society of Florida collection, 1862-2019, bulk 1902-1997","Division Files, 1921-circa 1995","Rose Keller (Lakeland), circa 1927","/repositories/4/archival_objects/69018","box 65","folder 6"],"component_level_isim":[3],"parent_ids_ssim":["f98896827f16d52b3168e472","f98896827f16d52b3168e472_aspace_eae888aaabb88a8b5182e3a73aba29ef","f98896827f16d52b3168e472_aspace_8b0923f3cca613e89d9a0dcae2d8ec44"],"parent_unittitles_ssm":["Children's Home Society of Florida collection, 1862-2019, bulk 1902-1997","Division Files, 1921-circa 1995","Rose Keller (Lakeland), circa 1927"],"parent_unittitles_tesim":["Children's Home Society of Florida collection, 1862-2019, bulk 1902-1997","Division Files, 1921-circa 1995","Rose Keller (Lakeland), circa 1927"],"parent_levels_ssm":["collection","Series","Subseries"],"unitid_ssm":["/repositories/4/archival_objects/69018"],"repository_ssim":["UCF Special Collections"],"collection_ssim":["Children's Home Society of Florida collection, 1862-2019, bulk 1902-1997"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":634,"parent_access_restrict_tesm":["The entire collection is open for research.","Photographs and Audio Visual, 1902-1997 (Series IV) and Additional Materials, 1862-2019 (Series VI) contain fragile AV material. No access copies are currently available. For further information, please contact Special Collections \u0026 University Archives."],"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":[1927],"containers_ssim":["box 65","folder 6"],"_nest_path_":"/components#2/components#18/components#8","_nest_parent_":"f98896827f16d52b3168e472_aspace_8b0923f3cca613e89d9a0dcae2d8ec44","_root_":"f98896827f16d52b3168e472","_version_":1870857973089173504,"timestamp":"2026-07-16T08:06:38.475Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"f98896827f16d52b3168e472","title_ssm":["Children's Home Society of Florida collection"],"title_tesim":["Children's Home Society of Florida collection"],"ead_ssi":"f98896827f16d52b3168e472","unitdate_ssm":["1862-2019","1902-1997"],"unitdate_bulk_ssim":["1902-1997"],"unitdate_inclusive_ssm":["1862-2019"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC 054","/repositories/4/resources/294"],"text":["SC 054","/repositories/4/resources/294","Children's Home Society of Florida collection, 1862-2019, bulk 1902-1997","Abandoned Children","Adoption -- Florida","Adoption -- United States -- History","Child welfare -- Florida","Foster children -- United States -- History","Nonprofit organizations -- Finance","Nonprofit organizations -- Management","Nonprofit organizations -- Planning","Poverty","Orphanages -- Florida","The entire collection is open for research.","Photographs and Audio Visual, 1902-1997 (Series IV) and Additional Materials, 1862-2019 (Series VI) contain fragile AV material. No access copies are currently available. For further information, please contact Special Collections \u0026 University Archives.","The Children's Home Society of Florida Collection is arranged into 5 series by types of content as well as by types of materials. The first three series feature personal and office files which show the birth and growth of the organization, sorted at the state and local division levels. The last two series holds audio visual and photographic ephemera as well as scrapbooks created by workers at the society.","To be an orphan in Florida at the turn of the twentieth century was a dangerous prospect. Children were being orphaned due to farm and industrial accidents and numerous poor families had to give up children they could no longer afford. Many children were abused and there were few laws that protected children's rights. Homeless children had little place to go where they could be safe, properly cared for, and loved.","\nIn response to this increasing crisis, the National Children's Home Society was formed in Illinois in 1883 to help place children who had been orphaned in farming and industrial accidents, spreading to several other states over the next decade. The Revered D. W. Comstock came to Jacksonville, Florida in 1902 as a representative of the National Children's Home Society to help organize the state's first child welfare society. On November 17, 1902, with the help of Rev. D. W. Comstock and Jacksonville's city and religious leaders, The Children's Home Society of Florida (CHSFL) was established. The welfare of the child was the society's primary focus, making sure that if the family could not be preserved that the child was placed in a happy and healthy home.","\nThe CHSFL was developed as a non-profit organization, relying solely on donations from the community. Fund-raising efforts began as administrative duties were carried out in private homes around the city. The children were also were being cared for in private residences as there was not yet a home secured for the society to board its charges. The CHSFL committed itself to not only children but to babies who were not accepted until the age of three at state orphanages (Mahoney, 5). Money was tight for the society and within the first few years, the CHSFL found itself in deep debt. By September of 1910, the CHSFL was facing the possibility of ending operations when a new state superintendent for the society entered its doors. Marcus C. Fagg was just 24 when he took control of the CHSFL but within a few short months, he had already obtained funding to start his first appeals drive. Many in the society to this day believe that it was Marcus C. Fagg who saved the CHSFL from closing its doors and built it to the standards that society members and workers adhere to today. Fagg's compassion towards children also did not go unnoticed; from his early years with the CHSFL, many children he helped referred to him as \"Daddy\" Fagg as a token of their appreciation for finding them loving homes.","\nMarcus Fagg brought innovative solutions to a dire financial situation. Using land donated or sold at cost to the society, Fagg either rented or sold land at higher costs to turn a profit. Fagg also helped poor families by renting them homes at drastically reduced rental costs with an option to later buy the homes. Marcus Fagg helped dozens of poor families regain their footing while also helping the CHSFL emerge from a deep hole of financial debt.","\nThough Marcus Fagg began to save the society financially, the society still fell on hard times. The country became entangled in the agony of the Great Depression in the 1930s and the CHSFL suffered with the rest of the nation. The Miami receiving home was lost due to a lack of finances but was thankfully picked up and operated by the Junior League until 1936 when CHSFL was able to once again run the home. Marcus Fagg also made history in 1932 by becoming the first chairman of the new Florida State Welfare Board. Through the 1940s and 1950s, CHSFL was instrumental in securing rights and welfare laws for children nationwide. CHSFL was one of the founding members of the Child Welfare League of America and was one of the only societies in the country to handle state adoptions without the aid of a state agency. The society also saw rapid growth, thanks in part to the massive fund-raising performed by Marcus Fagg; several new division offices opened throughout the state, many of whom offered special services for children. CHSFL also began offering services to unwed mothers, further committing themselves to the family rather than just simply finding homes for children.","\nOne of the saddest moments for the CHSFL was the loss of their mentor and leader, Marcus C. \"Daddy\" Fagg in 1958. After Fagg's passing, newspapers throughout Florida ran headlines announcing the loss of a great state hero. Buried in a simple grave in Jacksonville, Florida, Fagg's life and legacy still serves as a reminder to the CHSFL of their continued effort to help abused and orphaned children in the state of Florida.","\nSegregation and integration played an important role for CHSFL in the 1960s as the society began caring for and adopting out African-American children from their receiving homes. Historically, the society took in mostly white children. As the Civil Rights movement grew in the 1960's, the society re-examined the scope of its adoption policies and began taking in and offering adoption services for the African-American community. This was a significant development both for the society and for the Civil Rights movement; African-American children were being given the same adoption services as white children at a time when the issue of race was dominant in society and politics. As the country rapidly changed, so did the society, offering for the first time services in schools for handicapped, delinquent, and abused children as well children living in racially mixed households. These services would grow and define the society through to the end of the 1990s.","\nJust three years into the new millennium and the society's second century of service, the CHSFL moved its headquarters from its birthplace in Jacksonville to more centrally located offices in Winter Park, Florida. Now over one hundred years old, the CHSFL offers fourteen divisions that serve the entire state of Florida.","Collection processed by Ari Karlene Anderson; finding aid prepared by April Karlene Anderson and Katie Seeler. All paper materials have been placed in acid free folders and stored in archival containers. Some larger paper materials, such as maps and large photographs were also placed in acid free folders but are stored in archival flat files. Paper clips have been removed and replaced with plastic clips. In some cases, rusty staples have also been removed. Post-it notes have been moved to the edges of papers and copies have been made of more fragile materials such as news clippings. Photo blocks have been placed in archival trays, stored in separate bins to prevent them from scraping against one another. Any audio or visual media in cases were kept in their containers but placed collectively in archival boxes. Loose pages and items in the scrapbooks have been secured either with plastic clips or placed in archival folders and the entire book has been wrapped in acid free archival paper. Additional materials processed and integrated into the main collection by Suphi Burak Ogreten. Collection rehoused and container list revised by Asmara Cortes-Caba in 2023.","Blount Family papers , University of West Florida University Archives and West Florida History Center, Pensacola, Florida. ","Adoption Records: This collection does not contain any records on adopted individuals or families from the Children's Home Society of Florida. However, the society does have the CHS Adoptions Archive Unit which is dedicated to the preservation and research of these records. They can be found at  http://www.chsfl.org .","Books:","Georgia Gertrude Ralph,  Elements of Record Keeping for Child-Helping Organizations , (New York: The De Vinne Press, 1915.)","Lawrence Mahoney,  Children and hope : a history of the Children's Home Society of Florida , (Miami: Pickering Press, 1987).","Other Locations:","Pensacola Historical Society's Historical Resource Center, 110 East Church Street, Pensacola, Florida 32502. Phone: (850) 434-5455 Website:  http://www.pensacolahistory.org  (Western Division).","Florida Department of State, State Archives of Florida, R. A. Gray Building 500 South Bronough Street Tallahassee, FL 32399-0250. Website:  https://dos.myflorida.com/library-archives/archives .","The Children's Home Society of Florida Collection contains personal and organizational papers, photographs, audio and visual materials, as well as ledgers and scrapbooks. The collection is arranged by both content and materials types and have been organized into the following series:","\nSeries I: Biographical Files, 1900-1991, contains the files of individuals who were instrumental in the creation and/or the operations of the Children's Home Society of Florida. Correspondence makes up the majority of this series as it show the creation of the society (Comstock, Harkins, Seaton), its resurrection (Fagg), and its continued operations.","\nSeries II: State Organizational Files, 1886-2000, includes files that were used in the operations of the society as a whole. Financial documents, correspondence, reports, as well as the meeting minutes of the various committees that ran the society can be found in this series.","\nSeries III: Division Files, 1921-circa 1995, consists of files for local divisions located throughout the state. Some divisions are no longer in operation, having been closed completely or absorbed into another division. These older divisions can be found here in their original name. Meeting minutes for each division are also located here.","\nSeries IV: Photographs and Audio Visual, 1902-1997, holds both audio and visual media used by the Children's Home Society of Florida in promoting their society as well as raising funds.","\nSeries V: Ledger and Scrapbooks, 1902-1978, includes miscellaneous ledger and scrapbooks created by the Children's Home Society of Florida. The ledger books vary in format but are generally are either inventory or accounting in nature. The scrapbooks are made up of five volumes, all created by workers at the Children's Home Society of Florida. News clippings make up the majority of the scrapbooks contents but some do contain publications made by the Children's Home Society of Florida. There are also four Rose Keller Home scrapbooks made by workers at the Rose Keller Division in Lakeland, Florida. The Rose Keller Home scrapbooks give a brief history of the division as well as chronicle events at the home.","\nSeries VI: Additional Materials, 1862-2012, holds additional materials received from the Children's Home Society of Florida including organizational files, ephemera, photographs and audio/visual materials.","Unpublished manuscripts are protected by copyright. Permission to publish, quote, or reproduce must be secured from the repository and the copyright holder.","The Children's Home Society of Florida Collection contains organizational papers and ephemera that document the creation and operations of Florida's oldest non-profit adoption agency. The collection includes organizational papers from its state and local divisions, photographs, news clippings, audio and visual media, scrapbooks, and blueprints of the many receiving homes in the state, but does not contain adoption records. Adoption records remain at the CHSFL Adoption Archive and are available by contacting the society directly.","UCF Special Collections","Children's Home Society of Florida","Florida. Department of Children and Families","Child Welfare League of America","Florida. State Board of Public Welfare","English"],"unitid_tesim":["SC 054","/repositories/4/resources/294"],"normalized_date_ssm":["1862-2019, bulk 1902-1997"],"normalized_title_ssm":["Children's Home Society of Florida collection, 1862-2019, bulk 1902-1997"],"collection_title_tesim":["Children's Home Society of Florida collection, 1862-2019, bulk 1902-1997"],"collection_ssim":["Children's Home Society of Florida collection, 1862-2019, bulk 1902-1997"],"repository_ssm":["UCF Special Collections"],"repository_ssim":["UCF Special Collections"],"creator_ssm":["Children's Home Society of Florida"],"creator_ssim":["Children's Home Society of Florida"],"creator_corpname_ssim":["Children's Home Society of Florida"],"creators_ssim":["Children's Home Society of Florida"],"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 Children's Home Society of Florida donated these materials to the University of Central Florida Libraries, Special Collections and University Archives Department in 2004 (CFM2004_04). Additional matterials were added in 2015 (CFM2015_06), 2016 (CFM2016_03), 2017 (CFM2017_05), 2020 (CFM2020_11), and 2021 (CFM2021_06)."],"access_subjects_ssim":["Abandoned Children","Adoption -- Florida","Adoption -- United States -- History","Child welfare -- Florida","Foster children -- United States -- History","Nonprofit organizations -- Finance","Nonprofit organizations -- Management","Nonprofit organizations -- Planning","Poverty","Orphanages -- Florida"],"access_subjects_ssm":["Abandoned Children","Adoption -- Florida","Adoption -- United States -- History","Child welfare -- Florida","Foster children -- United States -- History","Nonprofit organizations -- Finance","Nonprofit organizations -- Management","Nonprofit organizations -- Planning","Poverty","Orphanages -- Florida"],"has_online_content_ssim":["false"],"extent_ssm":["102.75 Linear Feet 117 boxes, 5 scrapbooks, 13 flat files"],"extent_tesim":["102.75 Linear Feet 117 boxes, 5 scrapbooks, 13 flat files"],"date_range_isim":[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 entire collection is open for research.\u003c/p\u003e\n","\u003cp\u003ePhotographs and Audio Visual, 1902-1997 (Series IV) and Additional Materials, 1862-2019 (Series VI) contain fragile AV material. No access copies are currently available. For further information, please contact Special Collections \u0026amp; University Archives.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access"],"accessrestrict_tesim":["The entire collection is open for research.","Photographs and Audio Visual, 1902-1997 (Series IV) and Additional Materials, 1862-2019 (Series VI) contain fragile AV material. No access copies are currently available. For further information, please contact Special Collections \u0026 University Archives."],"arrangement_html_tesm":["\u003cp\u003eThe Children's Home Society of Florida Collection is arranged into 5 series by types of content as well as by types of materials. The first three series feature personal and office files which show the birth and growth of the organization, sorted at the state and local division levels. The last two series holds audio visual and photographic ephemera as well as scrapbooks created by workers at the society.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["The Children's Home Society of Florida Collection is arranged into 5 series by types of content as well as by types of materials. The first three series feature personal and office files which show the birth and growth of the organization, sorted at the state and local division levels. The last two series holds audio visual and photographic ephemera as well as scrapbooks created by workers at the society."],"bioghist_html_tesm":["\u003cp\u003eTo be an orphan in Florida at the turn of the twentieth century was a dangerous prospect. Children were being orphaned due to farm and industrial accidents and numerous poor families had to give up children they could no longer afford. Many children were abused and there were few laws that protected children's rights. Homeless children had little place to go where they could be safe, properly cared for, and loved.\u003c/p\u003e\n","\u003cp\u003e\nIn response to this increasing crisis, the National Children's Home Society was formed in Illinois in 1883 to help place children who had been orphaned in farming and industrial accidents, spreading to several other states over the next decade. The Revered D. W. Comstock came to Jacksonville, Florida in 1902 as a representative of the National Children's Home Society to help organize the state's first child welfare society. On November 17, 1902, with the help of Rev. D. W. Comstock and Jacksonville's city and religious leaders, The Children's Home Society of Florida (CHSFL) was established. The welfare of the child was the society's primary focus, making sure that if the family could not be preserved that the child was placed in a happy and healthy home.\u003c/p\u003e\n","\u003cp\u003e\nThe CHSFL was developed as a non-profit organization, relying solely on donations from the community. Fund-raising efforts began as administrative duties were carried out in private homes around the city. The children were also were being cared for in private residences as there was not yet a home secured for the society to board its charges. The CHSFL committed itself to not only children but to babies who were not accepted until the age of three at state orphanages (Mahoney, 5). Money was tight for the society and within the first few years, the CHSFL found itself in deep debt. By September of 1910, the CHSFL was facing the possibility of ending operations when a new state superintendent for the society entered its doors. Marcus C. Fagg was just 24 when he took control of the CHSFL but within a few short months, he had already obtained funding to start his first appeals drive. Many in the society to this day believe that it was Marcus C. Fagg who saved the CHSFL from closing its doors and built it to the standards that society members and workers adhere to today. Fagg's compassion towards children also did not go unnoticed; from his early years with the CHSFL, many children he helped referred to him as \"Daddy\" Fagg as a token of their appreciation for finding them loving homes.\u003c/p\u003e\n","\u003cp\u003e\nMarcus Fagg brought innovative solutions to a dire financial situation. Using land donated or sold at cost to the society, Fagg either rented or sold land at higher costs to turn a profit. Fagg also helped poor families by renting them homes at drastically reduced rental costs with an option to later buy the homes. Marcus Fagg helped dozens of poor families regain their footing while also helping the CHSFL emerge from a deep hole of financial debt.\u003c/p\u003e\n","\u003cp\u003e\nThough Marcus Fagg began to save the society financially, the society still fell on hard times. The country became entangled in the agony of the Great Depression in the 1930s and the CHSFL suffered with the rest of the nation. The Miami receiving home was lost due to a lack of finances but was thankfully picked up and operated by the Junior League until 1936 when CHSFL was able to once again run the home. Marcus Fagg also made history in 1932 by becoming the first chairman of the new Florida State Welfare Board. Through the 1940s and 1950s, CHSFL was instrumental in securing rights and welfare laws for children nationwide. CHSFL was one of the founding members of the Child Welfare League of America and was one of the only societies in the country to handle state adoptions without the aid of a state agency. The society also saw rapid growth, thanks in part to the massive fund-raising performed by Marcus Fagg; several new division offices opened throughout the state, many of whom offered special services for children. CHSFL also began offering services to unwed mothers, further committing themselves to the family rather than just simply finding homes for children.\u003c/p\u003e\n","\u003cp\u003e\nOne of the saddest moments for the CHSFL was the loss of their mentor and leader, Marcus C. \"Daddy\" Fagg in 1958. After Fagg's passing, newspapers throughout Florida ran headlines announcing the loss of a great state hero. Buried in a simple grave in Jacksonville, Florida, Fagg's life and legacy still serves as a reminder to the CHSFL of their continued effort to help abused and orphaned children in the state of Florida.\u003c/p\u003e\n","\u003cp\u003e\nSegregation and integration played an important role for CHSFL in the 1960s as the society began caring for and adopting out African-American children from their receiving homes. Historically, the society took in mostly white children. As the Civil Rights movement grew in the 1960's, the society re-examined the scope of its adoption policies and began taking in and offering adoption services for the African-American community. This was a significant development both for the society and for the Civil Rights movement; African-American children were being given the same adoption services as white children at a time when the issue of race was dominant in society and politics. As the country rapidly changed, so did the society, offering for the first time services in schools for handicapped, delinquent, and abused children as well children living in racially mixed households. These services would grow and define the society through to the end of the 1990s.\u003c/p\u003e\n","\u003cp\u003e\nJust three years into the new millennium and the society's second century of service, the CHSFL moved its headquarters from its birthplace in Jacksonville to more centrally located offices in Winter Park, Florida. Now over one hundred years old, the CHSFL offers fourteen divisions that serve the entire state of Florida.\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["To be an orphan in Florida at the turn of the twentieth century was a dangerous prospect. Children were being orphaned due to farm and industrial accidents and numerous poor families had to give up children they could no longer afford. Many children were abused and there were few laws that protected children's rights. Homeless children had little place to go where they could be safe, properly cared for, and loved.","\nIn response to this increasing crisis, the National Children's Home Society was formed in Illinois in 1883 to help place children who had been orphaned in farming and industrial accidents, spreading to several other states over the next decade. The Revered D. W. Comstock came to Jacksonville, Florida in 1902 as a representative of the National Children's Home Society to help organize the state's first child welfare society. On November 17, 1902, with the help of Rev. D. W. Comstock and Jacksonville's city and religious leaders, The Children's Home Society of Florida (CHSFL) was established. The welfare of the child was the society's primary focus, making sure that if the family could not be preserved that the child was placed in a happy and healthy home.","\nThe CHSFL was developed as a non-profit organization, relying solely on donations from the community. Fund-raising efforts began as administrative duties were carried out in private homes around the city. The children were also were being cared for in private residences as there was not yet a home secured for the society to board its charges. The CHSFL committed itself to not only children but to babies who were not accepted until the age of three at state orphanages (Mahoney, 5). Money was tight for the society and within the first few years, the CHSFL found itself in deep debt. By September of 1910, the CHSFL was facing the possibility of ending operations when a new state superintendent for the society entered its doors. Marcus C. Fagg was just 24 when he took control of the CHSFL but within a few short months, he had already obtained funding to start his first appeals drive. Many in the society to this day believe that it was Marcus C. Fagg who saved the CHSFL from closing its doors and built it to the standards that society members and workers adhere to today. Fagg's compassion towards children also did not go unnoticed; from his early years with the CHSFL, many children he helped referred to him as \"Daddy\" Fagg as a token of their appreciation for finding them loving homes.","\nMarcus Fagg brought innovative solutions to a dire financial situation. Using land donated or sold at cost to the society, Fagg either rented or sold land at higher costs to turn a profit. Fagg also helped poor families by renting them homes at drastically reduced rental costs with an option to later buy the homes. Marcus Fagg helped dozens of poor families regain their footing while also helping the CHSFL emerge from a deep hole of financial debt.","\nThough Marcus Fagg began to save the society financially, the society still fell on hard times. The country became entangled in the agony of the Great Depression in the 1930s and the CHSFL suffered with the rest of the nation. The Miami receiving home was lost due to a lack of finances but was thankfully picked up and operated by the Junior League until 1936 when CHSFL was able to once again run the home. Marcus Fagg also made history in 1932 by becoming the first chairman of the new Florida State Welfare Board. Through the 1940s and 1950s, CHSFL was instrumental in securing rights and welfare laws for children nationwide. CHSFL was one of the founding members of the Child Welfare League of America and was one of the only societies in the country to handle state adoptions without the aid of a state agency. The society also saw rapid growth, thanks in part to the massive fund-raising performed by Marcus Fagg; several new division offices opened throughout the state, many of whom offered special services for children. CHSFL also began offering services to unwed mothers, further committing themselves to the family rather than just simply finding homes for children.","\nOne of the saddest moments for the CHSFL was the loss of their mentor and leader, Marcus C. \"Daddy\" Fagg in 1958. After Fagg's passing, newspapers throughout Florida ran headlines announcing the loss of a great state hero. Buried in a simple grave in Jacksonville, Florida, Fagg's life and legacy still serves as a reminder to the CHSFL of their continued effort to help abused and orphaned children in the state of Florida.","\nSegregation and integration played an important role for CHSFL in the 1960s as the society began caring for and adopting out African-American children from their receiving homes. Historically, the society took in mostly white children. As the Civil Rights movement grew in the 1960's, the society re-examined the scope of its adoption policies and began taking in and offering adoption services for the African-American community. This was a significant development both for the society and for the Civil Rights movement; African-American children were being given the same adoption services as white children at a time when the issue of race was dominant in society and politics. As the country rapidly changed, so did the society, offering for the first time services in schools for handicapped, delinquent, and abused children as well children living in racially mixed households. These services would grow and define the society through to the end of the 1990s.","\nJust three years into the new millennium and the society's second century of service, the CHSFL moved its headquarters from its birthplace in Jacksonville to more centrally located offices in Winter Park, Florida. Now over one hundred years old, the CHSFL offers fourteen divisions that serve the entire state of Florida."],"prefercite_html_tesm":["\u003cp\u003eThe Children's Home Society of Florida Collection, Special Collections and University Archives, University of Central Florida, Orlando, Florida.\u003c/p\u003e"],"prefercite_tesim":["The Children's Home Society of Florida Collection, Special Collections and University Archives, University of Central Florida, Orlando, Florida."],"processinfo_html_tesm":["\u003cp\u003eCollection processed by Ari Karlene Anderson; finding aid prepared by April Karlene Anderson and Katie Seeler. All paper materials have been placed in acid free folders and stored in archival containers. Some larger paper materials, such as maps and large photographs were also placed in acid free folders but are stored in archival flat files. Paper clips have been removed and replaced with plastic clips. In some cases, rusty staples have also been removed. Post-it notes have been moved to the edges of papers and copies have been made of more fragile materials such as news clippings. Photo blocks have been placed in archival trays, stored in separate bins to prevent them from scraping against one another. Any audio or visual media in cases were kept in their containers but placed collectively in archival boxes. Loose pages and items in the scrapbooks have been secured either with plastic clips or placed in archival folders and the entire book has been wrapped in acid free archival paper. Additional materials processed and integrated into the main collection by Suphi Burak Ogreten. Collection rehoused and container list revised by Asmara Cortes-Caba in 2023.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Collection processed by Ari Karlene Anderson; finding aid prepared by April Karlene Anderson and Katie Seeler. All paper materials have been placed in acid free folders and stored in archival containers. Some larger paper materials, such as maps and large photographs were also placed in acid free folders but are stored in archival flat files. Paper clips have been removed and replaced with plastic clips. In some cases, rusty staples have also been removed. Post-it notes have been moved to the edges of papers and copies have been made of more fragile materials such as news clippings. Photo blocks have been placed in archival trays, stored in separate bins to prevent them from scraping against one another. Any audio or visual media in cases were kept in their containers but placed collectively in archival boxes. Loose pages and items in the scrapbooks have been secured either with plastic clips or placed in archival folders and the entire book has been wrapped in acid free archival paper. Additional materials processed and integrated into the main collection by Suphi Burak Ogreten. Collection rehoused and container list revised by Asmara Cortes-Caba in 2023."],"relatedmaterial_html_tesm":["\u003cp\u003e\u003cextref href=\"https://uwf.lyrasistechnology.org/repositories/2/resources/350\"\u003eBlount Family papers\u003c/extref\u003e, University of West Florida University Archives and West Florida History Center, Pensacola, Florida. \u003c/p\u003e\n","\u003cp\u003eAdoption Records: This collection does not contain any records on adopted individuals or families from the Children's Home Society of Florida. However, the society does have the CHS Adoptions Archive Unit which is dedicated to the preservation and research of these records. They can be found at \u003cextref href=\"http://www.chsfl.org\"\u003ehttp://www.chsfl.org\u003c/extref\u003e.\u003c/p\u003e\n","\u003cp\u003eBooks:\u003c/p\u003e\n","\u003cp\u003eGeorgia Gertrude Ralph, \u003cextref href=\"https://ucf-flvc.primo.exlibrisgroup.com/permalink/01FALSC_UCF/6a1ouu/alma990260914050306596\"\u003eElements of Record Keeping for Child-Helping Organizations\u003c/extref\u003e, (New York: The De Vinne Press, 1915.)\u003c/p\u003e\n","\u003cp\u003eLawrence Mahoney, \u003cextref href=\"https://ucf-flvc.primo.exlibrisgroup.com/permalink/01FALSC_UCF/6a1ouu/alma990211238530306596\"\u003eChildren and hope : a history of the Children's Home Society of Florida\u003c/extref\u003e, (Miami: Pickering Press, 1987).\u003c/p\u003e\n","\u003cp\u003eOther Locations:\u003c/p\u003e\n","\u003cp\u003ePensacola Historical Society's Historical Resource Center, 110 East Church Street, Pensacola, Florida 32502. Phone: (850) 434-5455 Website: \u003cextref href=\"http://www.pensacolahistory.org\"\u003ehttp://www.pensacolahistory.org\u003c/extref\u003e (Western Division).\u003c/p\u003e\n","\u003cp\u003eFlorida Department of State, State Archives of Florida, R. A. Gray Building 500 South Bronough Street Tallahassee, FL 32399-0250. Website: \u003cextref href=\"https://dos.myflorida.com/library-archives/archives\"\u003ehttps://dos.myflorida.com/library-archives/archives\u003c/extref\u003e.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Blount Family papers , University of West Florida University Archives and West Florida History Center, Pensacola, Florida. ","Adoption Records: This collection does not contain any records on adopted individuals or families from the Children's Home Society of Florida. However, the society does have the CHS Adoptions Archive Unit which is dedicated to the preservation and research of these records. They can be found at  http://www.chsfl.org .","Books:","Georgia Gertrude Ralph,  Elements of Record Keeping for Child-Helping Organizations , (New York: The De Vinne Press, 1915.)","Lawrence Mahoney,  Children and hope : a history of the Children's Home Society of Florida , (Miami: Pickering Press, 1987).","Other Locations:","Pensacola Historical Society's Historical Resource Center, 110 East Church Street, Pensacola, Florida 32502. Phone: (850) 434-5455 Website:  http://www.pensacolahistory.org  (Western Division).","Florida Department of State, State Archives of Florida, R. A. Gray Building 500 South Bronough Street Tallahassee, FL 32399-0250. Website:  https://dos.myflorida.com/library-archives/archives ."],"scopecontent_html_tesm":["\u003cp\u003eThe Children's Home Society of Florida Collection contains personal and organizational papers, photographs, audio and visual materials, as well as ledgers and scrapbooks. The collection is arranged by both content and materials types and have been organized into the following series:\u003c/p\u003e\n","\u003cp\u003e\nSeries I: Biographical Files, 1900-1991, contains the files of individuals who were instrumental in the creation and/or the operations of the Children's Home Society of Florida. Correspondence makes up the majority of this series as it show the creation of the society (Comstock, Harkins, Seaton), its resurrection (Fagg), and its continued operations.\u003c/p\u003e\n","\u003cp\u003e\nSeries II: State Organizational Files, 1886-2000, includes files that were used in the operations of the society as a whole. Financial documents, correspondence, reports, as well as the meeting minutes of the various committees that ran the society can be found in this series.\u003c/p\u003e\n","\u003cp\u003e\nSeries III: Division Files, 1921-circa 1995, consists of files for local divisions located throughout the state. Some divisions are no longer in operation, having been closed completely or absorbed into another division. These older divisions can be found here in their original name. Meeting minutes for each division are also located here.\u003c/p\u003e\n","\u003cp\u003e\nSeries IV: Photographs and Audio Visual, 1902-1997, holds both audio and visual media used by the Children's Home Society of Florida in promoting their society as well as raising funds.\u003c/p\u003e\n","\u003cp\u003e\nSeries V: Ledger and Scrapbooks, 1902-1978, includes miscellaneous ledger and scrapbooks created by the Children's Home Society of Florida. The ledger books vary in format but are generally are either inventory or accounting in nature. The scrapbooks are made up of five volumes, all created by workers at the Children's Home Society of Florida. News clippings make up the majority of the scrapbooks contents but some do contain publications made by the Children's Home Society of Florida. There are also four Rose Keller Home scrapbooks made by workers at the Rose Keller Division in Lakeland, Florida. The Rose Keller Home scrapbooks give a brief history of the division as well as chronicle events at the home.\u003c/p\u003e\n","\u003cp\u003e\nSeries VI: Additional Materials, 1862-2012, holds additional materials received from the Children's Home Society of Florida including organizational files, ephemera, photographs and audio/visual materials.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The Children's Home Society of Florida Collection contains personal and organizational papers, photographs, audio and visual materials, as well as ledgers and scrapbooks. The collection is arranged by both content and materials types and have been organized into the following series:","\nSeries I: Biographical Files, 1900-1991, contains the files of individuals who were instrumental in the creation and/or the operations of the Children's Home Society of Florida. Correspondence makes up the majority of this series as it show the creation of the society (Comstock, Harkins, Seaton), its resurrection (Fagg), and its continued operations.","\nSeries II: State Organizational Files, 1886-2000, includes files that were used in the operations of the society as a whole. Financial documents, correspondence, reports, as well as the meeting minutes of the various committees that ran the society can be found in this series.","\nSeries III: Division Files, 1921-circa 1995, consists of files for local divisions located throughout the state. Some divisions are no longer in operation, having been closed completely or absorbed into another division. These older divisions can be found here in their original name. Meeting minutes for each division are also located here.","\nSeries IV: Photographs and Audio Visual, 1902-1997, holds both audio and visual media used by the Children's Home Society of Florida in promoting their society as well as raising funds.","\nSeries V: Ledger and Scrapbooks, 1902-1978, includes miscellaneous ledger and scrapbooks created by the Children's Home Society of Florida. The ledger books vary in format but are generally are either inventory or accounting in nature. The scrapbooks are made up of five volumes, all created by workers at the Children's Home Society of Florida. News clippings make up the majority of the scrapbooks contents but some do contain publications made by the Children's Home Society of Florida. There are also four Rose Keller Home scrapbooks made by workers at the Rose Keller Division in Lakeland, Florida. The Rose Keller Home scrapbooks give a brief history of the division as well as chronicle events at the home.","\nSeries VI: Additional Materials, 1862-2012, holds additional materials received from the Children's Home Society of Florida including organizational files, ephemera, photographs and audio/visual materials."],"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_116bbdee47170dbab5d0053b5cc9d529\"\u003eThe Children's Home Society of Florida Collection contains organizational papers and ephemera that document the creation and operations of Florida's oldest non-profit adoption agency. The collection includes organizational papers from its state and local divisions, photographs, news clippings, audio and visual media, scrapbooks, and blueprints of the many receiving homes in the state, but does not contain adoption records. Adoption records remain at the CHSFL Adoption Archive and are available by contacting the society directly.\u003c/abstract\u003e"],"abstract_tesim":["The Children's Home Society of Florida Collection contains organizational papers and ephemera that document the creation and operations of Florida's oldest non-profit adoption agency. The collection includes organizational papers from its state and local divisions, photographs, news clippings, audio and visual media, scrapbooks, and blueprints of the many receiving homes in the state, but does not contain adoption records. Adoption records remain at the CHSFL Adoption Archive and are available by contacting the society directly."],"names_coll_ssim":["Florida. Department of Children and Families","Child Welfare League of America","Florida. State Board of Public Welfare"],"names_ssim":["UCF Special Collections","Children's Home Society of Florida","Florida. Department of Children and Families","Child Welfare League of America","Florida. State Board of Public Welfare"],"corpname_ssim":["UCF Special Collections","Children's Home Society of Florida","Florida. Department of Children and Families","Child Welfare League of America","Florida. 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